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THE 




LADIES' COMPLETE GUIDE 



TO 



Crochet, Fancy Knitting, and Needlework. 

BY MRS. ANN S. STEPHENS. 




Containing a complete Dictionary of the technical terms and characters used in descriptions of Crochet and Fancy Knitting 
Patterns. In this work the terms are so clearly explained, that any person who can read, can in a Few hours learn to exe- 
cute the most complicated and difficult patterns in Crochet and Knitting. This work also contains the clearest 
elementary information hnd the fullest instructions for erery species of Needlework, with new and 
beautiful edgings and insertions, in addition to the choicest specimens of Ladies' work. 

NEW YORK : 

DICK & FITZGEEALD, 

IS A2JN STEEET. 








H 



Entered according to Act of Congress, in the year 1S54, oy 

GARRETT & CO., 

In the Clerk's Office of the District Court of the United States 

for the Southern District of New York. 



CONTENTS, 









Page. 










Pa^e. 


Needlework and its History ... 5 


Crochet Collar ... ... 61 


Introduction . . . . 






. 22 


Mat with Border of Moss, &c. 






62 


Honiton Lace Collar . 






24 


Initials in Embroidery 








. 63 


Passion Flower in Chenille, . 






. 26 


Autour Boutons . 










. 64 


Card Basket in Crochet, 






28 


Pretty Carriage Bag 










. 64 


Border for a Quilt 






29 


D'Oyley in Square Crochet 










. 65 


Crochet Edging .... 






30 


Deep Point Lace . 










. 66 


Punch's Anti-Macassar 






31 


Crochet Edging . 










. 67 


Deep Lace in Crochet . 






. 33 


. . 










. 68 


Tatted Insertion .... 






34 


Insertion . 










. 69 


Anti-Macassar . . 






35 


Instructions in Embroidery 










. 70 


Net for the Hair . try^t, , 






. 37 


Heniton Crochet Collar 










. 76 


Berlin Work and Canvas Embroider)' 






38 


Knitted Basket . 










. 77 


Crochet Collar .... 






. 44 


Initial Letters 










. 78 


Knitted Lace Undersleeve . 






. 46 


Shamrock Leaf D'Oyley 










. 79 


Insertions in Embroidery 






47 


Pinafore 










. 80 


Table Mat 






48 


Neck Tie . 










82 


Gentlemen's Knitted Braces 






49 


Embroidery 










82 


Small Gimps in Crochet 






49 


Square D'Oyley . 










83 


Judy's Anti-Macassar . 






, 50 


Deep Lace in Crochet . 










83 


Crochet D'Oyley .... 






53 


Collars in Tatting 










84 


Point Lace Instructions 






54 


Crochet Insertion 










85 



CONTENTS. 



Knitting Instructions . - 

Infant's Cap Crown Jt^? *<X&.4-, C^cC 



Initials . . . / 

Knitted Bag 

Lacet Bag . . . " 
D'Oyley in Square Crochet 
Crochet Edging . 
Lady's Chemisette 
Anti-Macassar 
Crochet Mat 
Instructions in Tatting 



" 



Pa?e. 

86 
89 
91 
92 
93 
93 
94 
96 
98 
100 
102 



Embroidery on Cambric 
Knitted Lace Collars . 
Spanish Crochet Edging 
Collar in Frivolite 



Fish Cloth .... 

Crochet Insertion, 

Kfllhur Scarf S^JXcM- 

Nightcap in Crochet . 
Crochet Edging . 



Pae 

105 
106 
107 
108 
109 
110 
113 
114 
115 
117 



LADIES' COMPLETE GUIDE TO CROCHET AND NEEDLE WORK. 



•**«*A#^ ^^VW*- 



NEEDLE WORK AND ITS HISTORY. 



THE first step in education ever made by the 
feminine mind was the art of Needlework. 
Before women began to read, and when they 
considered writing as a mystery only to be un- 
dertaken by men of nobler parts, Needlework 
became a sort of medium by which women 
attempted to express their ideas and embody those 
affectionate thoughts that must have some expres- 
sion to keep the full heart from overflowing. 

In olden times, when war and warlike fame 
was the great object of every brave man, woman 
first learned to write her love and all the myste- 
rious faith which, with the educated or uneduca- 



ted, is a portion of her being, in those war pen- 
ants and embroidered scarfs that were worn by 
the sterner sex as rewards of valor or expressions 
of love. Taking a hint from the flowers, God's 
own handwriting of love upon the bosom of the 
earth, she began to symbol the deep feelings of 
her nature in imperfect imitations, and this was 
the first step made by woman in the progress of 
mind. 

How rude and uncouth these first attempts 
were, matters little. They constituted the alpha- 
bet of all the bright creations, whether of the 
pencil or pen, which are the glory of the present 



NEEDLEWORK AND ITS HISTORY. 



century. During the dark ages Needlework was 
considered an aristocratic, nay, almost a regal 
accomplishment, and queens vied with each other 
in the gentle art as ardently as their husbands 
struggled in the battle-field. 

The Lady of a castle in those times made it a 



land was softened more by this gentle occupation 
of the hands, than by her literary or conver 
Rational talent put together. The most touching 
memento of this beautiful woman at Holyrood 
Palace is the basket in which she placed those 
pretty garments, enriched by her own skill, in- 



portion of her duty to initiate the noble damsels tended for the infancy of her only son — that son 
of her household in the mysteries of cross and 
tent stitch, just as her lord held noble youths in 
training for the battle-field. 

The amount of Needlework done by the female 
sovereigns of England and France is really won- 
derful ! The wife of William the Conqueror 
wrought whole suits of tapestry with her own 
hand-:, and poor Mary Stewart has left scores of 
mournful proofs how great a consolation this ac- 
complishment is to the suffering and afflicted. 
Her .solitude in the various prison castles of Eng- 



who allowed her to remain a prisoner during his 
entire youth, rather than endanger the friendship 
of her royal murderess. Indeed one of the most 
painful events of her life was connected with this 
art. After a year of prison life, spent in embroi- 
dering a robe for this pusillanimous son, after she 
had woven as it were her anguish and her tears 
in the rich fabric, she forwarded the garment to 
Scotland, accompanied by a letter full of mater- 
nal love. This letter was directed to James, 
Prince of Scotland, not to the King. Holding 



NEEDLEWORK AND ITS HISTOR1. 



rer own sovereign rights as sacred, how could she invention, and the facilities for thought which the 

icknowledge those of another by her own hands, first step in any art creates. 

James sent the robe back because of this omis- Probably the first progress which Knitting made 

Hion It is easy to fancy, after this outrage, that toward a distinct art, was when yarn stockings 



poor Mary Stewart might receive her death 
warrant with comparative composure. 



KNITTING. 

"We should find it difficult to trace the origin 
of this particular class of work-table employment, 
of which our book treats, except as it sprang 
from these intricate stitches first introduced into 
old point lace. The transition from one needle 
to more, and the weaving of thread into forms of 
beauty, was a progress natural to the spirit of 



were invented in Flanders. The stitch, as every 
New England housewife knows, is simple enough. 
But inventive genius has so adorned and varied 
it, that stockings are easily enriched with lace- 
work, and lace itself is abundantly manufactured 
by a little thread and a pair of knitting needles. 
There is no female accomplishment so universal 
as this of knitting. The women of different na- 
tions perform the simple stitches with a process 
of their own, but the result is the same. In Ger- 
many and Russia, the yarn is held in the left 
hand, and wound in an intricate fashion among 
the fingers of that hand, while with us it is sim- 
ply folded over the front and little finger of the 



B 



NEEDLEWORK AXD ITS HISTORY. 



right hand. The author remembers well the 
amazement and merry smiles of a Russian lady in 
St. Petersburg, -when she exhibited this Ameri- 
can method of producing the stitch the lady 
h:id been forming in the continental fashion ; this 
was but natural ; for the amusement was quite 
mutual. Xothing could be droller than the way 
in which she handled her needles. 

All over Europe, ladies may be seen in their 
balconies after dinner, grouped around their 
work-baskets, while the gentlemen converse with 
them, or silently watch the progress of their pret- 
ty tasks. In the sitting-room of every mansion, 
some one corner is rendered cozier than the rest, 
by the well-used work-table, laden with pretty 
boxes and baskets, crowned with a rainbow 
wreath of Berlin wool. Fashionable as this 
household accomplishment is getting among us, 



American ladies devote themselves less to needle- 
work than those of almost any other nation. 



CROCHET WORK. 



Crochet "Work proper is, in its pv^sent improv- 
ed form, almost a modern invention. It has only 
been introduced to any extent into th^ country 
within the last twenty years, but now it is very 
general, and our old-fashioned knitting work is 
completely thrown into the back grwund by the 
Crochet needle. The embroidered sheath and 
chased silver needle-case have disappeared even 
from the cherry-wood workstands of New Eng- 
land, and a thousand beautiful designs for chairs, 
cushions, toilets and wearing apparel, supply the 



NEEDLEWORK AND ITS HISTORY 

place of the old-fashioned stocking basket with ground work, have been invented, and the most 

its well mended contents. In England and Ire- intricate patterns are given with a boldness of 

land, where the ladies are always industrious, effect only to be found in the ancient lace we have 

Crochet work has arisen to, the dignity of an art. mentioned. 

It is introduced into the national schools, and Thus it is pleasant to see that what was late 
hundreds of poor are supported by the rich laces only a dainty accomplishment with which the 
ana pretty collars produced there. gentlewoman idled away her time, promises to be- 
lt is quite wonderful to what perfection this come a means of support to the working c. 
art has reached in some districts of Ireland. In this country, Crochet work can only be de- 
Every day develops r.yw improvements and con- nominated an accomplishment, but we must consid- 
\jibutes some novel pattern to the world, which er it not merely as an elegant way of wileing away 
promises to render this class of lace making more time, but as one of those gentle means by which 
popular than even the English point, has been, women are kept feminine and lady-like in this fast 
especially on this side the Atlantic. At the Crys- age. Masculine women of hard and coarse grained 
*.al Palace this year, some specimens of Crochet natures, are seldom given to these pleasant house- 
collars, sleeves, and even entire dresses, were ex- hold employments. AVe never hear that Elizabeth 
hibited that had all the rich effect of old point amused herself with the needle, she was too busy 
^ace. Flowers, even raised in petals from the with her pen signing death warrants, or -with her 



10 



NEEDLEWORK AND ITS HISTORY 



tongue scolding her council, for any thoughts of 
the graceful art which brightened the prison she 
gave to her beautiful rival. Indeed, fancy work 
in all its branches is always subservient to the 
household spirit which attends every true woman. 
There is a careless fashion among gentlemen, 
of speaking lightly regarding those graceful ex- 
hibitions of female industry, which pass under 
the head of Fancy Work. Yet, to our mind, 
there is no amusement more innocent and grace- 
ful. One of the most distinguished literary ladies 
of this country once told us that she cultivated a 
love of her old-fashioned knitting, because it gave 
employment for her hands, which were so used 
to motion, that she really felt uncomfortable 
when they were unemployed. Our friend is only 
singular in the homeliness of her taste in knitting 
u.suful stockings, instead of pretty ornaments. 



The ladies of almost every country we have ever 
seen appear most natural and charming when em- 
ployed in some graceful task of needle-work or 
knitting. 

But a love of it is increasing, and still increas- 
ing. Let gentlemen deride these pretty occupa- 
tions if they please ; we know how much of a 
soothing influence lies in the dreamy habit of 
counting stitches, and how many bright faculties 
are pleasantly exercised in arranging and match 
ing colors. 

On no occasion does a lady seem more lovely than 
when half occupied with some feminine art which 
keeps her fingers employed, and gives an excuse 
for downcast eyes and gentle pre-occupation. 
This sort of playing at work, and working at 
play, sheds a home feeling around the guests 
which no studied effort at hospitality can pro- 



NEEDLEWORK AND ITS HISTORY. 



U 



duce, and forms habits of usefulness which con- 
sumes many an hour of idle time that might be 
put to far more harmful uses. 

There is an air of tranquility, and a proof of 
innocent contentment in these domestic accom- 
plishments, that have a beautiful significance in 
the family circle. It is only in well regulated 
households that leisure moments are thus gather- 
ed up. It is only minds composed and serene in 
their joy, or submissive in sorrow, that can con- 
strain themselves to the gentle monotoDy of work 
like this. 

With a crotchet-needle in the hand, we join 
more pleasantly in conversation ; the little imple- 
ment fills up all embarrassing pauses: its use 
gives a feminine and domestic air, which men 
may smile at, but cannot condemn ; and, under 
all circumstances, it is better than counting 



beads, like the modern Greeks, or flirting fans, 
like the Spanish belles — or flirting without fans, 
as sometimes happens to ladies of all nations. 

The time which any lady give-; to ornamental 
needle-work is usually made up of those leisure 
moments which would be lounged away on a sofa. 
or in a rocking-chair ; and it is wonderful how 
many pretty objects start into existence, that, but 
for this taste, would be dreamed away into no- 
thingness. 

Of course, no person of well-regulated intellect 
would make a business of this graceful accom- 
plishment, unless compelled to exercise it for a sub- 
sistence. We advocate it simply as an amuse- 
ment, like all recreation, to be indulged in only 
when the more serious duties of life are disposed 
of. But it has advantages not always recogni- 
zed. Many a fine eye for colors has been culti- 



12 



NEEDLEWORK AND ITS HISTORY. 



vated into artistic perfection, by the nice discrim- 
ination necessary to assort the tints of a worsted 
rose. Grouping may be learned from a close 
study of patterns, and a thousand charming as- 
sociations may be woven in with the forget-me- 
not or heart's-ease, which we have wrought trem- 
blingly into the canvass, which a beloved eye 
was gazing upon. 

Without a gift for needle-work, what should 
we ladies do for appropriate mementoes for our 
brothers, husbands, and friends, at Christmas 
time, and when birthdays come round, sounding 
their yearly remembrances upon our heart- 
strings ? What should we do for wedding cush- 
ions, and christening robes, when our favorite 
cousins insist upon becoming heads of families, 
and useful members of society? What excuse 
ehould we have for casting down our eyes, when 



other people's eyes become troublesome ? Every 
lady knows how many heart-tremors can be car- 
ried off in a vigorous twist of the crotchet-needle ; 
how many pleasant words may be innocently 
received in a sensitive heart, when all its defen- 
sive faculties are busy counting stitches ? In 
short, we persist in it, that a feminine character 
cannot be quite perfect without a knowledge of 
all sorts of needle-work, and a down-right hearty 
love of it, too. For our part, we have buried 
many a heart-ache in the growing leaves of a 
silken rose, and blunted the sharp edge of pangs 
that would not be wrestled with by the sweet, 
calm monotony of a shining bit of steel. 

The delightful art of netting produces not only 
objects of beauty but of comfort so indispensable 
in our severe winters, that the fair hand employ 
ed in netting may be deemed useful as our grand- 



NEEDLEWORK AND ITS HISTORY. 13 

mothers' were when they seamed enormous quan- at odd moments, from Berlin wool, by the fair 

tities of yarn away in winter socks and stockings, hands of those who intend to present or wear 

In our cold seasons, when parties most prevail, them. Besides, the fabrication of these articles is 

sleeves, cuffs, rigolettes, and over-shoes of deli- a pretty accomplishment that possesses a social 

cate Berlin wool, have saved many a fair form value, independent of time well employed, and 

from colds and their consequent diseases, which, comfort secured. 

without such eare, prove so fatal when heated Knitting, crochet work, and the manufactory of 
rooms are exchanged for the biting cold of a lace are so connected and interwoven together 
winter's night. With soft warm cuffs, or over- that the history of one would be incomplete with- 
sleeves, to draw over the arms, a snowy web of out the other. "We therefore go on from our fa- 
netting and tassels upon the head, and shoes thick- miliar and pleasant talk about needlework as an 
ly wadded with silk, drawn over the satin slippers, accomplishment and give its history as a matter 
added to the usual wrappers, no lady need ex- of trade. In this point of view, lace making is the 
pose herself to cold though the atmosphere be at most important, and indeed so connected with the 
Zero and her dress of gossamer, with low neck rest that we give concise history of its rise and 
and short sleeves. It is not always that fashion progress in the world. 

blends so gracefully with taste and comfort, as it We have already spoken of needlework in its 

does in these charming little trifles manufactured first rude condition, when uncouth figures and a 



U NEEDLEWORK AND ITS HISTORY. 

barbarian taste for gorgeousness prevailed with- age as in our own — the idea should have present 

out those powers that create harmonious beauty, ed itself to some tasteful eye of relieving the pat 

After these rude attempts at a first step in the tern of the fabric with occasional spaces, either 
arts, it is not wonderful that improvements were left wholly vacant, or filled up with a web-like 
made, almost unconsciously, and that the innate ground work ? This would, in reality, constitute 
genius that existed then as now in the female lace, however much it might differ from the deli- 
bosom found at all times some imperfect means of cate material known by that name in the present 
expression through the needle, which ended at last day. Whether the introduction of lace is refer- 
in those stitches, that have since been combined in- ible to the classic ages or not, certain it is that a 
to the fabric called lace. very respectable degree of antiquity may be 

It is certain that neither labor nor ingenuity claimed for it. 
was spared in the production of the magnificent It must be borne in mind that real or hand- 

borderings for robes, often worked in gold and made lace is divided into two distinct classes : 

silver and various colors, which are associated in first, that worked with the needle, which has for 

our minds with the ancients on better grounds ages been known by the name of point, and is but 

than mere tradition "What, then, is more proba- transparent embroidery; and secondly that made 

bie than that, in the search for novelty and vane- on a hard cushion or pillow, by the interweaving of 

ty — a.-; much an object of desire, no doubt, in that numerous fine threads wound on wooden bobbins. 



NEEDLEWORK AND ITS HISTORY 



15 



The latter method of lace making is comparatively 
of modern invention ; so that in the early history of 
the fabric it must be understood as referring sole- 
ly to the point. During the earlier periods at 
which the existence of lace is generally recognis- 
ed, it was exclusively worked in conventual in- 
stitutions, and applied to the adornment of church- 
furniture and the state-vestments of the priests. 
Had it been made in populous towns, and formed 
an article of commerce, more satisfactory infor- 
mation would have been here and there discover- 
ed; but of those old isolated convents in Spain 
and Italy, and of the habits and pursuits of their 
inhabitants, little beyond vague tradition has de- 
scended to us. There is every reason to suppose, 
that during the thirteenth, fourteenth, and two 
following centuries, the making of lace occupied 
the same important position in the daily employ- 



ments of the nuns, as the arts of copying illtimm 
ating manuscripts, amongst the monks and friars. 

It is singular that, in later years, the E 
connected with the manufacture of old point-lace 
have been lost to us; and that, although ingenious 
imitations are by no means rare, the authentic 
method of making it is quite unknown. The sub- 
stratum used, or ' foundation,' as it is called, 
would appear to have been fine linen, though 
scarcely a thread is visible to the eye, from the 
heavy embroidery upon it, which here and there 
stands out in complete relief. The pattern con- 
sisted of small sections of fantastic and varying 
outlines ; now a rather unnatural imitation of a 
flower, now some quaint arabesque or mechanical 
form, resembling nothing in the world but itself. 
These being distinct from each other, were unit- 
ed by delicate fibres made with the still common 



16 



NEEDLEWORK AND ITS HISTORY. 



button-hole stitch ; and it is not easy for mere de- 
scription to render justice to the beauty of the ge- 
neral effect. It seems wonderful that so perfect a 
result could have been attained by following the 
impulse of the moment ; but still more difficult to 
believe that any design could have been invented 
so strange and capricious in character. As for the 
untiring patience displayed in the execution, we 
can only rejoice that it was believed to be in a 
good cause ; that the pious nuns could not fore- 
see the desecration to which, in the course of some 
few centuries, their cherished productions were 
to be subjected. When accident or necessity by 
degrees alienated the more valuable adornments 
of church-furniture, they were applied to secular 
purposes ; and no doubt many a modern belle 
may have unconsciously displayed in a ball room 
a lace flounce which has adorned an image of the 



Virgin, or sought ineffectual protection from a, 
draught by drawing around her a mantle of old 
point, which has witnessed from the shoulders of 
a cardinal many a grand and imposing ceremon} r . 
There are, of course, comparatively few specimens 
extant of this very antique lace, properly descri- 
bed as Spanish point ; and these few have in 
most cases.been handed down to their possessors 
as valued heir-looms from generation to genera- 
tion ; regarded with as much honest pride by the 
ladies of the line, as the more valuable portion of 
the family heritage by their matter-of-fact hus- 
bands. As the supply of old point can never be 
renewed, and competition can never affect it, its 
value naturally increases ; and when it can be 
bought at all, it is only at a price that would be 
deemed extravagant by any other than a genuine 
lace-fancier. 



NEEDLEWORK AND ITS HISTORY 



17 



It was not until the latter part of the fourteenth 
century, that the world at large was indulged 
with more than an occasional glimpse of the 
beautiful fabric when displayed in the great fes- 
tivals of the Church; but by that time some 
knowledge of the art had crept out of its holy 
hiding-places, and had found its way amongst the 
merchants of one or two continental cities, to 
whom its novelty and beauty could not fail to re- 
commend it as a subject of extensive and profita- 
ble commerce. It is true, we do not hear of it at 
.once as being in general use ; but Rome was not 
built in a day, neither was point-lace to be pro- 
duced at a wish. The hands that made it had to 
be carefully instructed and exercised in their em- 
ployment before any degree of perfection could 
be attained, and then long and unwearyingly had 
they to pursue it before even the wealthier classes 



of society, to whom alone it was attainable, cou\d 
be adequately supplied. We meet with most 
frequent allusion to Venice, that great bazaar of 
the luxuries of the middle ages as the chief seat 
of the point-lace manufacture in early times. As 
this city certainly monopolised the most skilful 
artisans in every branch of oi'namental handicraft, 
and was the great emporium whence everything 
beautiful and costly was spread over the world, 
it is by no means extraordinary that the establish- 
ment of lacemaking in other countries should be 
generally referred back to some wandering band 
from the city of the winged lion. 

The character of the lace worn during the fif- 
teenth and sixteenth centuries differed in some 
respects from the conventual point, if it mav be 
so termed. It was less massive, and although, 
certainly, exhibiting no deficiency of work, did 



18 



NEEDLEWORK AND ITS HISTORY. 



not display that superabundance of adornment 
which distinguished the chiefs-d'oeuvre of the holy 
sisterhoods. This is easily accounted for by the 
circumstance, that the one kind was made for 
money by those whose bread depended on the 
work of their hands, whilst the other was the 
chosen occupation of leisure hours, and an out- 
ward demonstration of heart-service. 

Brussels, which has during several centuries 
maintained a reputation wider and more extended 
than any other place, may certainly in the pres- 
ent day be said to support and, if possible, ex- 
tend the renown of its lace ; of this there are two 
distinct varieties, easily recognisable by the initia- 
ted in such matters. The more valuable and 
beautiful kind is that called pointe a V aiguille, 
or, more commonly, Brussels point; it is worked 
wholly with the needle, and is, as its name im- 



plies, a very refined descendant of the ancient 
family of the points. It was very much in 
vogue among the wealthier classes in England 
during the reigns of Charles I. and several sue 
ceeding monarchs, and has been immortalised in 
Vandyck's portraits of the martyr-king, under 
the form of the beautiful pointed collar and cuffs 
which were dignified by the name of the artist. 
Fashion has, in this case, been more constant 
than usual, since the taste for Brussels point has 
continued so decidedly among us, that we still 
monopolise a large proportion of the whole 
quantity made ; the other variety, called Brussels 
plait, being more extensively used in France 
Spain, Russia, and other countries. In the latter 
description of lace, the flowers for the pattern 
are made separately on the pillow, and afterwards 
attached to net. It differs, in fact, but little from 



NEEDLEWORK AND ITS HISTOR1. 



'3 



the best English Homton, ot wmcn i shall speak 
hereatler. 

In the lace called Mechlin, made at Malines 
and Antwerp, there are some of those nice dis 
tinctions which render an account of the various 
productions of Brussels unavoidably rather com- 
plicated. Mechlin lace is made entirely on the 
pillow, and in one piece ; it can therefore be ap- 
plied only to articles of limited size. Lappets or 
trimmings are the forms under which we gener- 
ally see it ; and in these the exquisite delicacy of 
its texture can be thoroughly appreciated. The 
chief peculiarity consists in the filmy lightness of 
the ground, and in a thick plait-thread, as it is 
called, following the outline of the pattern, and 

* 

giving the effect of embroidery. 
The next class of Belgian lace, called generally 



Valenciennes, will be familiar to most of our rea- 
ders ; but they may be scarcely aware that the con- 
tributions of each of the six towns in which it is 
chiefly made offer some distinctive peculiarity, 
which would enable a person accustomed to com- 
pare them to decide with certainty upon their 
birthplace. The finest description is that which 
comes from Ypres. This town is acknowledged 
to excel in laces of the finest square ground and 
in the widest and most expensive kind ; its pro- 
ductions have been known in some instances to 
produce as much as L.50 the yard. 

Although Caen and Bayeux were the princi 
pal seats of the blonde manufacture in France, 
a variety was originated at Chantilly, which was 
brought to a higher perfection than any other, 
and was proportionably higher in price. It was 



NEEDLEWORK AND ITS HISTORY. 



extensively worn in England about thirty years 
ago, but is now almost traditionary here. The 
peculiarity of Chantilly blonde consisted of the 
rich close pattern, which contrasted with the 
filmy lightness of the ground. It was chiefly 
woven for veils, which then differed a good deal 
from our present idea of them : they were simply 
squares surrounded by one of these deep heavy 
borders of irregular outline, and also flowered 
over in the centre, and were thrown over the bon- 
net, completely enveloping the head and shoulders 
of the wearer. This description may be recog- 
nised by any one who has ' assisted,' as the 
French say, at the bringing to light of those 
treasures of by-gone days consigned by the chan- 
ges in taste and fashion to the darkness and ob- 
livion of a lumber-room. Among such articles 



would be most likely included a Chantilly veil of 
gigantic dimensions, or a collar of proportionate 
magnitude. But although the general rage for 
Chantilly has long past away, it is still used in 
small quantities, and is made of exquisite beauty, 
as if thereby to retain with the very fastidious 
the favor it has lost among the great body of lace- 
wearers. 

We should be charmed to proceed with this 
history of lace making, till the subject exhausts 
itself, but our present book deals with it only 
so far as it throws light upon and is connected 
with the branch of art particularly under con- 
sideration. Crochet work has now become a 
branch of lace making to a considerable extent, 
even in our country, where it has been exclusive- 
ly held as an accomplishment. But however 



NEEDLEWORK AND ITS HISTORY. 



21 



charmed we may be with the subject, a regard 
for space must prevent us running off into a dull 
essay instead of giving the ways and means by 
which this particular class under consideration is 
to be fabricated — as a bad example to new -be- 



ginners, for if they indulge in such deviations 
among the stitches the workmanship will be a 
failure, we can assure them. But now we begin 
in sober earnest to explore the complicated mys 
teries of Crochet work as an art. 



INTRODUCTION. 



•IN commencing our instructions in Crochet- 
J Work in all its variations, we supply what cer- 
tainly is a great want in the American House- 
hold, where some sort of fancy work is essential 
to the completion of those domestic circles which 
render an American home so cheerful. In giving 
those general directions regarding terms and 
stitches, which will, we trust, prove acceptable, 
we have endeavored to be as concise and clear as 
the nature of the subject will admit. 

" The Ladies' Complete Guide to Crochet and 
Needlework" may therefore be , regarded as a 
compendium both of choice and accurate receipts 
and of clear elementary instruction. 

We will begin by giving those which are re- 
quired for Crochet, and beg our fair readers to 
re;V-r to them on any future occasion of doubt or 
difficulty. 

Chain Stitch (abbreviated into ch.) is the foun- 
dation stitch in crochet. A loop of thread 



made on the hook, and through this the thread 
is drawn, forming the first chain stitch ; draw 
the thread through this one, and a second is 
formed. Continue the process until you have 
done the required number. 

Slip Stitch (si.) is a stitch chiefly used for the 
veinings of leaves, and similar parts, in imitations 
of Honiton lace. It serves, also, to cany the 
thread from one part to another, without either 
breaking it oflf or widening the work. Insert the 
hook in the stitch nest to that already on the 
needle (unless the directions particularly say, miss 
so many,) and draw the thread at once through 
both stitches. Repeat. 

Single Crochet (sc.) — Insert the hook in the 
chain, and draw the thread through it ; this 
forms a second loop on the hook. Draw the 
thread through these two by a single movement 
aud the stitch will be completed. 



INTRODUCTION. 



Double Crochet (dc.) — Raise the thread over 
the hook, so as to pass it round, before inserting 
the latter in the chain ; draw the thread through, 
and you will find three loops on the hook ; bring 
the cotton through two, which makes one instead 
of those taken off. Thus two are still on the 
needle ; nnish the stitch by drawing the thread 
through these. 

Treble Crochet (tc.) is a stitch precisely 
similar to the last ; but as the thread is passed 
twice round the hook before the insertion of the 
latter in the chain, there will be four loops on, 
when the thread is drawn through. Bring the 
thread three times through two loops to finish 
tile stitch. 

Loxg Treble Crochet (1 tc.) has the thread 
twisted three times round the hook, before it is 
passed through the chain ; consequently, it will 
require the thread to be drawn four times 
through two loops to finish the stitch. 

To work through a stitch, is to draw the thread 
under instead of in it. This is stronger than the 
usual method, but not so neat ; it is, therefore, 
rarely used for anything but very open work. 

Square Crochet is that which is made en- 



tirely in small squares, those which form the 
pattern being closely filled in, and the ground 
open. Open squares are formed thus : 1 dc. 2 
ch., miss 2, repeated. Close squares contain 
three dc. stitches, thus : 1 c. 1 o., would 
4 dc. 2 ch. Every pattern in square crochet 
requires a foundation chain of stitches which can 
be divided by three and leave one over ; as it - 
obvious that if an open square were the last on 
the pattern, a dc. stitch would be required to 
form the square at the end. 

Sometime? a very large piece of work ma 
made in treble square crochet. In this work, a 
close square of 4 tc. stitches; an open square, I 
tc. 3 ch. miss 3. This style requires the pattern 
to be divisible by four, with one stitch over. 

The stars, dagsrers. and asterisks used in print- 
ing knitting and crocket receipts signify that 
any stitches given between two similar marks 
are to be done as many times as dir ..us, 

X 3 dc. 2 ch. X three times, means 3 dc 2 
3 dc. 2 ch., 3 dc. 2 ch. 

AVhen one repetition occurs within another 
italics are used at each end of the part. * 1 p. 



24 



HONITON LACE COLLAK. 



2 k. 1 p. 1 k. (a) m. 1, k. 1 (a) 6 times * 8 times, 
means that one complete pattern being finished, 
when you have made 1, knitted 1, 6 times, 



8 of those patterns, beginning again each time 
at the first *, will be required tor the round 
or row. 



HOIITOI LACE COLLAR, 

[Fig. 1.] 



The same sprigs and edgings may be used for 
a Bertha, or Veil, as they are complete in them- 
selves, and only require to be tastefully grouped 
and lightly sewed on Italian net, already cut into 
the form required. 

Materials. — Crochet cotton, No. 60 ; crochet 
hook, No. 24 ; eagle cardboard guage. 

For the Border. — Make a chain of the length 
required, taking care that there are so many 
sevens and two over. 2 so. on eh. X 5 ch., miss 
5, 2 sc. on 2 ch. -j- repeat. 

2nd Bow. — 2 sc. on the other side of the 
chain, X 2 dc. 3 tc, 2 dc, in 5 ch., 2 sc. on same 
2 ch. that were worked in the last row -f- repeat. 



3rd Bow. — 2 slip on 2 sc. -f- 1 sc. 3 dc, 1 sc. 
on 5 ch. 1 slip on sc. ; make a chain of 12, close 
for a loop, and work round in sc, 1 slip on 
second sc stitch -f- repeat. Do not make the loop 
of 12 at the last pattern. 

For the small Sprigs. — 16 ch. close in 5th 
for a loop, leaving a stem of four ; work round 
the loop in sc, 2 ch. in continuation of stem, 18 
ch., close for loop, round which work thus : 3 ch., 
miss 2, sc. on 3rd, 3 ch., miss 2, dc. on 3rd, X 3 
ch., miss 1, dc on 2nd -j- twice, 3 ch., miss 2, dc. 
on 3rd, 3 ch. miss 2, sc. on 3rd, 3 ch., miss 2, 
slip stitch at the close of the loop ; work round 
in dc and down the 6 ch. of the stem. 



HONITON LACE COLLAR. 



25 



The large Sprig. — 30 ch., close for a loop, 
and work round it thus : 1 si., 2 sc. clc. all the 
rest but 3; 2 sc, 1 slip. Turn the work on the 
wrons 1 side ; 16 ch., miss 3, slip on 4th, -f- 4 slip 
on the last 4 of the chain ; 16 ch., miss 4, slip on 
5th, -\- 5 times ; 4 slip on last 4 of the 16 ; 12 ch., 
miss 3, slip on closing stitch ; work all round 
these loops in dc, except the first and last 
stitches of each loop, which must be sc. This 
completes the flower: 16 ch., on which work 
back, 1 sc. -\- 2 dc. in one chain, -f- 4 times, 1 do, 
9 ch., 1 sc, 7 dc on the 9 ; 1 dc. 1 to., in next 
chain of 16; 1 dc, in next; 1 sc. in next; 1 
slip in next; slip back on the last 3 stitches; 
6 ch., on which I slip, 1 sc, 8 dc (the last of 
which will come on the 16 ch.) ; 2 sc, 1 slip, 
leaving 2 ch. for the stem, 8 ch. 

Shamrock. — 21 ch., join in 7th for ioop, and 
Blip 4 on the last 4 ; 11 ch., join to the stitch 
which closed the loop; slip back 4 as before t 



11 ch., join at the close of the loop, and work 
round in sc, also 6 sc on stem ; 26 ch. flip 11 , 
leaving 14 for stem; work round the 11 tl 9: 
1 slip, 1 sc, 7dc, 1 sc. 1 slip, on each Bide, which 
forms a close leaf; repeat leaf, with 8 ch. 
for stem instead of 14 ; then another leaf c 
to it; 8 sc. on 8 ch. of stem ; repeat the leaf* 
7 sc on stem ; repeat the shamrock; 7 sc. on 
stem; repeat the leaf, making a ch. of 1 4 inr 
of 12 ; work in sc. to the base of the flower ; 
fasten oft". 

Honiton lace sprigs and edgings must be 
finished by running the ends of thread at the 
back with a fine sewing needle, and then cutting 
them off. 

To make hemstitch for the neck, make a 
chain the required length, and work thus: 2 ch. 
miss 1, 1 dc This gives the circular forna requi 
«H.e for *he neck of a collar 



2G 



PASSION FLOWER IN CHENILLE. 



PASSION FLOWER IN CHENILLE 

(Pig. 2.) 



Materials. — One piece of green chenille, of a 
medium tint ; one of a very delicate green ; one 
of violet ditto ; and a small quantity of rather 
stout liteaux. This last is a kind of fine wire, 
used in making up flowers, &o. The chenille is 
the fine kind termed chenille a brocler. Crochet 
hook, No. 14. 

Cut a piece of liteaux, about a quarter of a 
yard long ; make a loop at one end of it, occupy- 
ing an eighth of the whole length, and twist the 
wire, to keep the round perfect; on this loop 
work 16 dc. stitches with the lightest green or 
white chenille, and on these another round of dc. 
stitches. Repeat this seven times more ; so that 
on the length of liteaux eight of these petals are 
formed. When all are done, twist together the 
ends of every two, and fasten them thus on a 



piece of liteaux, as close together as possible. 
Then prepare the stamens and pistil. Twist 
some short pieces of liteaux, into a form as nearly 
as possible resembling that of the natural pistil, 
which, it will be remembered, has three branch- 
ing arms. Cover this with pale green chenille. 
The stamens are short pieces of liteaux, some 
covered with violet, and some with green ohe- 
mlle : they are to be made of different lengths, 
and the ends to be twisted round that of the 
pistil, so that they may surround it. Then make 
a small ring of liteaux, put it round the stamens 
and pistil, and cover it with violet chenille, 
when the centre of the flower is completed. Put 
round it the liteaux with the eight petals attached, 
so that the ring of violet covers the joins. Work 
on a small wire ring two rounds of dark green 
chenille for the calyx, in which place the flower 



PASSION FLOWER IX CHEXILLE. 



21 



Twist the ends all together, to form a stem, and 
cover it with chenille of the same color. 

For the Bud. — "Work 20 tc. stitches with the 
light green chenille on a bit of liteaux, laying in 
another piece of wire at the edge. Draw the 
stitches rather together, so as to form a cup, in 
which put a morsel of cotton wool. Work on 
another bit of liteaux 1 6 dc. stitches with dark 
green chenille ; twist the ends together, drawing 
the wire into the form of a leaf. Four of these 
make the calyx which is to surround the bud. 
Twist the ends together, and cover the stem so 
formed with chenille. 

The Leaves. — Twist a piece of liteaux large 
enough to form the centre of a leaf, and work 



round it in dc. with the darkest green chenille, 
taking care to make your stitches very close 
together. Work round this another row of the 
same chenille, with a bit of very fine wire in the 
edge. Do all in dc. except the first and last 
stitches, which must be in sc. Twist the ends of 
the wires for a stem, and cover with the same 
shade of chenille. If these artificial dowers are 
to be used for a head dress, four of them must be 
made, and a sufficient number of leaves to form 
a drooping branch on each side of the hair. For 
a bonnet, they may be formed into a group. 

To make a wreath of the present style, unite 
the two sprays by either a coronet of leaves, or a 
plait of lilac chenille. 

For dark hair, make flowers of scarlet chenille 
instead of lilac. 



23 



CARD BASKET IN CROCHET. 



CAKD BASKET IN CROCHET 

[Fig. 3.1 



Materials. — Rich blue Berlin wool, two 
ounces; gold colour and scarlet filoselle, three- 
quarters of an ounce each ; fine window cord ; 
Bone crochet hook. 

Burin with the cord as small a round as you 
can for the commencement of the stand, and con- 
tinue to work in it, round and round, until all 
the fiat part of the basket is done, all in sc. 

1st round. — 12 stitches, blue 

2nd.— IS ditto 



3rd. — 24 o'ltu. 






4th.— 36 ditto. 






5th. — 1 gold, 3 


blue, 2 goid, 


3 biue, 1 gold. 


4 times. 






6th.— 1 gold, 4 


blue, 2 gold, 


4 biue, 1 gold, 


4 times. 






7th.— 2 gold, 5 


blue, 3 gold, 


5 blue, 1 gold, 


4 times. 







8th. — 4 gold (the 1st on the 1st of last row,) 

1 blue, 7 gold, 1 blue, 3 gold. 4 times. 

9th. — 2 gold, 2 scarlet on 1 gold, 3 gold (the 
centre on the single blue,) 2 scarlet on 1 gold, 

3 gold on 3 gold, 2 scarlet on 1 gold, 3 gold, 

2 scarlet on 1 gold, 1 gold. 4 times. 

10th. — 1 gold on 1st gold of last row, 3 scar- 
let on two stitches, 5 gold, 3 scarlet on 2, 1 gold 
on centre of 3 gold, 3 scarlet as before, 5 gold, 

3 scarlet. 4 times. 

11th. — 2 gold on 1, 4 scarlet, 4 gold on 3, 

4 scarlSt, 2 gold on 1, 4 scarlet, 4 gold on 3, 

4 scarlet. 4 times. 

12th.— 3 gold on 2, 4 scarlet, 3 gold on 2, 
4 scarlet, 6 gold, 4 scarlet, 3 gold on 2, 4 scarlet, 
3 gold on 2. 4 times. 

Thus it will be perceived, the written instruc- 
tions are for one exact quarter of each round. 



BORDER FOR A QUILT— KNITTED EMBROIDERY. 



20 



After having done the hist round, do one entirely 
of scarlet ; cut off the cord at the end of the 
round, and work a few stitches to conceal the 
termination of it. 

For the Sides of the Basket. — The rounds 
alternately blue and gold. 

1st Round. — 1 do., 3 ch., miss 1 ; repeat. 

2nd — 1 dc. on centre of 3 ch., 3 ch., miss 3. 

3rd. — As last, with 4 ch. between. 

4th. — Repeat, with 5 ch. between. 

5th.— As 4th. 



6th. — 5 dc. on 5 ch., 1 ch., miss 1 ; repeat 

7th. — Sc. all round, with cord in as in the first 
part. 

8th. — 3 sc. on 3 centre of 5, 9 ch., mi 
repeat. 

9th. — To be worked on the same row as the 
last, 3 sc. on the 3 missed, 9 ch., miss 3 ; repeat 
Work these two rows in different colours, and 
form a band of wire, covered with ribbon or 
crochet, to correspond ; conceal the fastening 
with bows 



#**/^# v*s/WW 



BORDER FOR AN EMBROIDERED aUILT. 

[Fig. 4.] 



KNITTED EMBROIDERY. 



Materials — Knitting cotton, white and ingrain 
pinks, No. 12; knitting needles, No. 15; eagle 
card-board guage. 

Knitted Embroidery, of w 7 hich the engraving 
shows a very simple specimen, is a very novel 
and beautiful style of work. In w r ool, its effect 



rivals that of the costly chenille, with the advan , 
tage of being washable; and now that cottons 
are dyed of such exquisite colors, they are also 
very suitable for it. 

With the white cotton cast on 16 stitches, and 
purl a row. 



30 CROCHET EDGING 

1st.— W. : k. 2, m. 1, k. 2 t, k. 3, X k. 1 P., 1 7th.— W. : k. 2, m. 1, k. 2 t., X k. 1 P., 1 W., 

W., 1 P., X W. k. 4, m. 2, k. 2. 1 P., 3 W., 1 P., 1 W., 1 P., X W., k. 2 t., m. 

2nd.— W. : k. 3, p. 1, k. 1, p. 3, X p. 1 P., 1 2, k. 2 t., k. 2 t. 

W., 1 P., X white p. 3, k. 4. 8th.— W. : k. 3, p, 1, k. 1, X p. 3 P., 3 W., 3 

3rd.— W. : k. 2, m. 1, k. 2 t., k. 5, X k. 3 P, P., X W., k. 4. 

X k. 8 W. 9th.— W. : k. 2, m. 1, k. 2 t, k. 1, X k. 1 P., 

4th.— W. : k. 2, m. 2, k. 2 t., k. 1, p. 4, X p. 1 5 W., 1 P., X W., k. 5. 

P., X W., p. 4, k. 4. 10th.— All White : cast of 2, k. 2, p. 9, k. 4. 

5th. — All white: k. 2, m, 1, k. 2 t, k. 12, p. 1, Repeat the pattern to the length required. 

' 6th.— W. : k. 6 X p. 1 P , 1 W 1 P , 3 W., • + + Between these marks only the colors intermix - 
1 P., 1 W.," 1 P., X k. 4 W. "' 



CROCHET EDGING- 

[Fig. 5.] 

Like all otnet crochet patterns, the size depends ommend Crochet cotton, No. 10, and steel croch- 

wholly on the materials employed. For dress et hook, No. 14. 

trimmings, No. 30 Crochet cotton, with crochet Make a chain of 15 stitches, and sc. into the 

hook No. 19, will be suitable; or even tiner cotton 6th of these to make a loop. Work under the 

may be used. But this pattern being particularly upper half of this loop 8 sc. ; 11 ch. 5 form this 

suitable for trimming curtains and so forth, I rec- loop as before, leaving one chain between it and 



PUNCH'S ANTI-MACASSAR 



31 



the last ; work 8 sc. in it ; do three more with 1 > 
ch., then one with 15, and so on throughout. 
When sufficient is done for the piece required, 
allowing for its diminishing by one-third, work 7 
sc. on the other side of every round, and 1 sc. 
between. On the live chain between every live 
work 2 sc. 

3rd Row. — Begun at the same place as the 
last. 3 sc. on the three centre stitches of the 
first loop, 2 ch., 2 sc. on the centre stitches of 
the next 3 loops, with 2 chain between, 3 sc. on 



the lr,st of the live, and 4 chain between ; repeat. 

4th. Worked the same way. 3 sc. on the 3 sc. 
of last row, 13 ch., 3 sc. on 3 sc. of the filth loop, 
4 sc. on 4 ch : repeat. 

5th. — 1 dc, 1 ch., miss 1 ; repeat. 

6th. — Sc. throughout. 

When this is done, work with a common needle 
and thread three bars of button-hole stitch, to 
connect the three centre loops, us seen in the en- 
graving. 



WAV//AW«~ 



PUNCH'S ANTI-MACASSAR. 

[Fig. 6.] 



Materials. — Crochet cotton, No. 10; crochet 
hook, Nc. 15; eagle card-board guage; 136 ch. 
The first four rows in open square crochet. 
5th.— 19 o., 1 c, 25 o., 1 dc. 
6th. — 16 o., 4 c, 7 o., 1 c, 17 o., 1 dc, 



7th. — 16 o., 4 c, 4 o., 4 c, 17 o., 1 dc. 
8th. — 17 o., 1 c, 1 o., 1 c, 4 o., 4 c, 17 o., 1 dc. 
9th. — 18 o., 1 dc, 1 ch., 5 dc, 5 o., 1 dc, 1 ch., 
6 dc, 1 ch., 17 o., 1 dc. 

10th. — IS o., 3 c, 3 o., 4 c, 17 o., 1 dc. 



?J5 PUNCH'S ANTI-MACASSAR. 

11th.— 13 o., 1 da, 1 ch., 6 da, 1 ch., 1 o., 28th.— 16 6., 47 do., 1 oh., 13 a, 1 Q. 

1 dc, 1 ch., 11 dc, 2 ch., 2 ch., 1 dc, 1 dc, 29th.— Like 28th. 

2 ch., 4 a, 17 a, 1 dc 30th.— 16 a, 48 dc, 2 ch., 12 a, 1 dc. 

12th.— 13 o., 3 a, 2 o., 3c 2 a, 4 a, 18 o., 31st— 16 o., 1 dc, 1 ch., 29 dc, 2 ch., 16 c. 

1 dc. 2 ch , 12 o., 1 dc 

13th.— 12 o , 1 dc, 1 ch., 12 dc, 1 ch., 1 dc, 32nd.— 14 o., 35 dc, 1 ch., 1 o., 1 dc, 1 ch., 

2 ch., 13 dc, 2 ch., 1 1 dc, 1 ch., 18 o., 1 dc 14 dc, 2 ch., 12 o., 1 dc. 

14th.— 12 o., 1 dc. 1 ch., 41 dc, 2 ch., 18 o., 33rd.— 14 o., 34 dc, 2 ch., 2 o., 13 dc, 2 ch., 

1 dc. 12 o., 1 dc. 

15th.— As 14th. 34th.— 15 o., 31 dc, 2 ch., 2 o., 13 dc, 2 ch., 

16th.— 13 a, 43 dc, 2 ch., 17 a, 1 dc 12 o., 1 dc 

17th.— 14 a, 43 dc, 2 ch., 16 o., 1 dc. 35th.— 16 o.,'31 dc, 2 ch., 1 o., 13 dc, 2 ch., 

18th. — 14 a, 46 dc, 2 ch., 15 o., 1 dc 12 o., 1 dc. 

19th.— 14 o., 1 dc, 1 ch., 47 dc, 2 ch., 14 o., 36th.— 15 a, 37 dc, 2 ch-, 1 dc, 1 ch., 9 dc, 

1 dc. 1 ch., 13 o., 1 dc 

20th.— 15 a, 46 dc, 2 ch., 1 4 o. 1 dc 37th.— 12 o., 7 dc, 2 ch., 37 dc, 2 ch., 1 dc, 

21st.— 15 o , I dc, 1 ch., 44 dc, 2 ch., 14 o., 2 ch., 7 dc, 2 ch., 13 a, 1 dc. 
1 tic 38th. — 12 a, 34 dc, 2 ch., 1 dc, 2 ch., 5 dc, 

22nd. — 1 1 o., 57 dc, 1 ch., 14 o., 1 dc. 1 ch., 2 o., 5 dc, 1 ch., 14 o., 1 dc. 

23rd. — 15 o., 61 dc, 2 ch., 9 o., 1 dc 39th.— 12 o., 37 dc, 2 ch., 20 a, 1 dc. 

24th.— 16 o., 46 dc, 2 ch., 13 a, 1 dc 40th.— 13 o., 34 dc, 2 ch., 20 o., 1 dc. 

25th.— 16 o., 1 dc, 1 ch., 45 dc, 1 ch., 13 a, 41st.— 14 o., 10 dc, 2 ch., 16 dc. 2 ch., 21 c, 

1 dc 1 dc. 

26th.— 17 a, 44 dc, 1 ch., 13 a, 1 dc. 42nd,— 14 o., 1 dc, 1 ch., 35 dc, 2 ch., 18 o 

27th.— 18 o., 41 dc, 1 ch., 13 o., 1 dc. 1 dc. 



DEEP LACE IN CROCHET. aZ 

43rd. — 15 o., 32 dc, 1 cli., 19 o., 1 dc. 55th to 58th inclusive, in open square?. 

44th.— 14 o., 34 dc, 2 ch., 19 o., 4 dc. 

45th. — 15 o., 28 dc, 2 ch., 20 o., 1 dc. Border for the Anti-Macassar, which rrrust 

46th. — 16 o., 25 dc, 2 ch., 20 o., 1 dc have a row of sc. up each side previously done 

47th. — Like 46th. to fasten in the threads. 

48th. — 17 o., 22 dc, 2 ch., 20 o., 1 dc. 1st, — 1 dc over dc, of the Anti-Maeapear, > 

49th. — 18 o., 19 dc, 2 ch., 20 o., 1 dc. 2 ch., 7 dc. in nextdc, 3 ch., 1 dc in same stitch. 

50th. — 18 o., 19 dc, 2 ch., 1 dc, 2 ch., 7 dc, X; repeat all round. 

eh., 16 o., 1 dc 2nd. — Sc. in the centre of the 3 ch. of last 

51st. — Like 50th. round, X 9 ch., sc in centre of the next, X ; re- 

52nd. — 19 o., 16 dc, 2 ch., 1 dc 2 ch., 4 dc, peat. 

ch., 17 o., 1 dc 3rd — X Sc on 1st of 9 ch-, 3 ch., miss 2, 1 dc 

53rd. — 20 o., 19 dc, 2 ch., 18 o., I dc on 3rd, 4 ch., miss 1, 1 dc. on 2nd. 3 ch., miss 2, 

54th. — 21 c, 13 dc, 2 ch.. 19 o., 1 do 1 sc. on the last of the 9, X; repeat. 



DEEP LACE IN CROCHET. 

[Fig. 7.] 

for anti-macassars, etc 

Materials. Crochet cotton, No. 12 ; crochet Make a chain the required length. 
hook. No. 14 or 15. 1st Eow in sc. 



34 



TATTED INSERTION 



2nd.— 1 tc, 1 ch., miss 1 , repeat. 

3rd. — 1 dc, 7 ch., miss 3, do. in 4th; repeat. 

4th. — X Sc. in centre of 7 ch., 7 ch., X ; repeat. 

5th, 6th, and 7th. — Like 4th. 

8th. — f Sc. in centre of 7 ch., X; 9 ch., sc. in 
same stitch, X twice 3 ch., miss 3, dc. on 4th. 
3 ch, miss 3, f ; repeat. 

9th. — Sc, miss every sc. stitch of last row. 

10th. — X. sc. on point of the next loop, 3 ch., 
sc. on point of the next loop, 7 ch., X repeat. 



11th. — f Sc on cent-re of 7 ch., X. 9 ch., sc. .n 
same stitch, *-|- twice 9 ch., f ; repeat. 

12. — f 9 sc. on 9 ch. ; then, on the first 
loop of 9, work 1 sc , 2 dc, 6 tc, 2 dc, 1 sc. : 
then make the flower thus: 12 ch., slip in '6th 
for a loop, X 5 ch., 1 sc. under loop, X 4 times; 
work these 4 loops in sc, missing all the previous 
sc. stitches, then the 5 ch. that were left of the 
12 ; 1 sc, 2 dc, 6 tc. 1 sc on 2nd loop of 9, f ; 
repeat. 



**^J-*S* ^^yw*-~ 



TATTED INSERTION. 

|Fig. 8.] 



SUITABLE FOR CUFFS, BANDS, ETC. 



Materials. — White cotton braid, No. 9 ; Cro- this loop up, and leave a space as great as that 

diet No 70, and tatting cotton, No. 3. indicated in the engraving before making the next. 

For the Tatting — 6 double stitches: make a When a sufficient quantity of this is done, take 

picot with a fine pin ; 3 double stitches, 1 picot, a piece of colored paper, rather longer than you 

3 double stitches, 1 picot, 6 double stitches. Draw require the insertion to be, and on it rule two 



ANTI-MACASSAR. 



3.', 



parallel lines, an inch apart, and another exactly 
between them. Take on the tatting 1 , allowing- it 
to touch, alternately, each outer line ; then back 
again in the same manner, so that the threads 
cross at the centre lh_e, and form a hexagonal 
space between every two tatted loops. Braid 
the outer lines and the ends; and if the piece 
be intended for a cuff, put a double line of 
braid at one end for the buttons, and also two 
braid loops at the other, for button-holes. A long 



needleful of Crochet, No. 70, must then be taken 
along the centre line, connecting the cross lines 
with a button-hole stitch wherever they occur. 
Then work a rosette of English lace in every 
space, and another when the four threads cross 
each other. The tatting edging is made without 
picots, and lightly sewed on the outer edges of 
the braid, both sides of which should then be fiu 
ished with a row of Venetian edging. 



*W>//////lWV«-. 



ANTI-MACASSAR. 



[Fig. 9.] 



LAURESTINA LEAF PATTERN. 



Materials — Crochet cotton, No. 8 ; knitting 
needles, No. 1 3. 

Cast on any number of stitches you like, which 
can be divided by 16, and 6 over for the border. 
Knit three plain rows 



1st— K. 3, -f- m. 1, k. 1, m 1, k. 2, slip 1, k. , 
t., pass the slip stitch over, k. 2, -f- twice for 
every pattern, k. 3. 

2nd. and every alternate. Knit the three first 
and last stitches, and uud all the remaiuder. 



36 



ANTI-MACASSAK. 



3rd.— K. 3, + m. 1, k. 3, m. 1, k. 1, slip 1, k. 
2 t. pass the slip stitch over k. 1. X twice for 
each pattern, k. 3. 

5th. — K. 3, + in. 1, k. 5, in. 1, slip 1, k. 2 t., 
pass slip stitch over; X twice as before; repeat 
and k. 3. . 

7th.— K. 3, X m. 1, k. 2, slip 1, k. 2 t., pass 
slip stitch over; k. 2, m. 1, k. 1.° X twice for 
each pattern, k. 3. 

9th.— K. 3, X k. 1, m. 1, k. 1, slip 1, k 2 t, 
pass slip stitch over; k. I, m. 1, k. 3, m. 1, k. I, 
slip 1, k. 2 t., pass slip eti+ch over; k. 1, m. 1, 
k. 2 -f 5 repeat to tt ^t 3 k. 3. 

11th.— K. 3, X k 2, in. 1, slip 1, k, 2 t., pass 
slip stitch over; m. I, r. 5, in. 1, slip I, r. 2 t., 
pass slip stitch over ; in. 1, k. 3, -f-; repeat to the 
last, 3, k. 3. 

13th.— K. 3, X* k. 2 t, k. 1, m. 1, k. 1, m. 1, 



* Instead of knitting two together at the beginning 
and end of the pattern, in this and the following rows, 
the worker will find that she must knit three together in 
the body of the Anti-Macassar and at the beginning and 
end of the row, only as directed in the text. 



k. 2, k. 3 t, k. 2, m. 1, k. 1, m. 1, k. 2, k. 2 t 
X. Repeat k. 3. 

15th.— K 3, X k. 2 t, m. 1, k. 3, m. 1, k. 1. 
k. 3 t, k. 1, m. 1, k. 3, m. 1, k. 1, k. 2t.,+; 
repeat, k. 3. 

17th.— K. 2, k. 2 t., X m. 1, k. 5,-m. 1, k. 3 t, 
X. Repeat to the end of the row, when you 
will knit 3 together, and then 3 of the border. 

Repeat from 7th to 18th rows inclusive, until 
sufficient is done ; then knit 3 plain rows, and 
fasten off. 



Border for Anti-Macassar. — Same cotton 
and needles. Cast on 17 stitches. 

1st. — Slip 1, k. 2 m. 1, slip 1, k. 2 t., pass slip 
stitch over; m. 1, k. 3, m. 1 k. 2 t, k. 1. m. 1, 
k. 2 t., m. 1, k. 2 t, m. 1, k. 1. 

2nd.— K. 1, purl all but five, k. 5. 

3rd.— Slip 1, k. 2, in. 1, k. 2 t., m. 1, k. 2 t, 
k. 1, k. 2 t, m. 1, k. 3, m. 1, k. 2 t, m. 1, k. 2 t., 
m. 1, k. 1. 

4th.— Like 2nd. 

5th.— Slip 1, k. 2, m. 1, k. 2 t, k. 1, m. 1. 



NET FOB THE HAIR » 

slip 1, k. 2 t, pass slip stitch over, m. 1, k. 5, m. 1, k. 1, m. 1, k. 2 t, k. 5, m. 1, k. 2 t., m. 1, 

m. 1, k. 2 t, m. 1, k. 2"t., in. 1, k. 1. k. 2 t. m. 1. k 1. 

6th. — Like 2nd. 8tb. — Cast off 5, purl all the remainder, except 

7th. — Slip 1, k. 2, m. 1, k. 2 t., m. 1, k. 2 t., the last five, which knit plain. 



NET FOR THE HAIR. 

[Fig. 10.] 



Materials. — Three good skeins of scarlet or 
bkie netting silk ; elastic ribbon and tassels to 
correspond; crochet hook, No. 12. 

Make 6 chain, and form them into a round. 

1st. — 1 tc. into every chain, and 1 ch., after 
every tc, thus making 12 stitches in the round. 

2nd. — 1 tc. on one chain, 3 ch., miss tc. stitch. 
Repeat. 

3rd. — X 1 tc. on the centre of the loop, 5 ch., 
X repeat. 

4th. — X 1 tc on centre of loop, 7 ch. X repeat. 



5th to 10th rounds inclusive. — Like the last, 
increasing two chain at every round, so that 9 
ch. are made in the 5th, and 19 in the 10th 
round. 

11th — 3 tc, 3 ch., miss 3. Eepeat. 

12th — X 3 tc on 3 ch., 3 ch., miss 3, + repeat. 

13th — X 4 tc, 4 ch., miss 4, X repeat. 

14th. — -f- 4 tc on 4 ch., 5 ch., miss 4, -f- repeat. 

The elastic ribbon is to be run in the 11th 
round, and tassels fastened to hang over the ear. 



C 



J . 



3* 



BERLIN WORK AND CANVAS EMBROIDERY. 



BERLIN WORK AND CANVAS EMBROIDERY- 



It being: one of the chief objects of the Pro- 
prietors of this little work, to present to the 
reader, in a very portable form, the clearest 
and most accurate elementary instructions for 
every kind of fashionable Needlework, I have 
selected Berlin Work or Canvas Embroidery 
as the subject for explanation in this part. 

Berlin work is the general term for what 
might perhaps be more properly termed embroi- 
dery on canvas; a material with which, doubtless, 
most of my readers are well acquainted, although 
they may not be familiar with the names of the 
different kinds and sizes. 

The French Canvas, (sometimes called Patent) 
is the one which I yreifer for all ordinary purpo.es 



The open squares are very exact, and the threads 
and selvage usually firm and strong. It is the 
only kind tlBat is suitable for large pieces, or for 
wreaths, or any tbin^ else, in fact, in which 
squareness and strength are essential. 

Penelope Canvas has the threads placed two 
and two in both directions ; and took its name, I 
presume, from the appearance it presents of having 
been worked, and the work picked out again, like 
tha' 1 ", of the faithful wife of Ulysses. As all trouble 
of counting the threads is saved, it is very easy to 
work on, but caa only be worked in cross-stitch 

German Canvas differs from the French in 
having every tenth thread a different color, and 
not being so true a square in the mesh. 



BERLIN WORK AND CANVAS EMBROIDERY 



39 



It is altogether inferior to the French (or 
patent); and, (amongst other disadvantages,) has 
that of showing the colored thread through any 
light wool. Still, as it obviates, in some degree, 
the trouble of counting, many people like to work 
on it. 

Silk Canvas is a very expensive article ; but it 
saves much labor, as designs worked on it do not 
require to be grounded. I should never advise 
any but white silk canvas being used, as the co- 
lored ones do not wear well. There are so many 
diiferent qualities of silk canvas, that none should 
be bought without careful examination, by laying 
something of an opposite tint underneath it, and 
thus detecting any irregularities, roughnesses, 
&c. , good silk canvas should be perfectly even. 

Canvas is made of almost every variety of 
width ; the narrow silk canvas being the proper 
size for braces. 

Canvas is choser. according to its size, being 
numbered much like cotton, according to the 
number of threads in the inch. We seldom re- 
quire a coarser size than No. 8, which contains 
11 threads to the inch — 10 has 13, — and so onto 



24, which has 27 threads. The next number, 30, 
has 31 threads, 40 has 35, and 50, 37. We 

seldom use any finer than this. 

There are not so many sizes manufactured of 
either silk or Penelope canvas ; and the former 
is never made so coarse as the cotton article. 

The surface of canvas is covered by being 
worked with various substances, of which silks, 
wools, chenille, and beads, may be considered the 
principal. Beads are now very much used, inter- 
mingled with silks and wools. For grounding 
large articles a new and very beautiful kind of 
wool has lately been introduced, termed filoselle. 
It works in admirably, and imparts a very rich 
effect to a design. It is about the size of Berlin 
wool which is fresh and good. For finer article? 
floss silk is common, and chenille may be workec 
on silk canvas with excellent effect, 

Berlin wool may be used for almost any pur 
pose ; for, if to coarse, it can be split without 
injury; and if the reverse, two or three threads 
may be worked together. It should never be 
wound, for however lightly done it is certain to 
be injured. 



40 



BERLIN WORK AND CANVAS EMBROIDERY. 



Fleecy wool has been greatly inproved both in 
texture and dye of late years, and may now be 
ased for groundings and those purposes for which, 
formerly, it would have been quite unsuitable. 
It is much cheaper than Berlin wool. 

English, or Embroidery wool, is a much stron- 
ger substance than Berlin; tne dark shades are 
excellent for the ground of lar<re pieces, but the 
lighter tints are not equal to those in the Berlin 
wool. 

The chenille used for embroidery is called 
chenille a broder, to distinguish it from the chenille 
ordinaire, which is much coarser. The effect of 
flowers, birds and butterflies, worked in ch.en.ille, 
is rich and beautiful in the extreme, but the pile 
so easily attracts dust, and is so liable to injury, 
that it should be used only for articles winch will 
be defended by glass. The needle used for che- 
nille should have round eyes, and be sufficiently 
large to prepare a passage in the.satin or canvas 
through which the chenille may pass without 
•"jury 



THE STITCHES USED IN BERLIN WORK. 

There are but five stitches for canvas work, al 
though many others are enumerated ; for they 
are but varieties of the following : 

Cross-stitch, 

Tent-stitch, 

Irish-stitch, 

German-stitch, 

Gobelin or Tapestry stitch. 

Cross Stitch is worked by bringing up the 
needle on the left hand, crossing two straight and 
two perpendicular lines, and putting in the needle 
on the right; bring the needle up on the right 
again, in the space which forms a right angle with 
the two already occupied ; cross the first thread, 
and bring the needle under on the left hand again. 

When grounding is done in this stitch, take 
care to avoid all appearance of lines and joins 
by using unequal length of wool, finishing each 
stitch before the next is begun. Grounding 
should be begun at the left hand lower come* 
and worked upwards. 



J 



BERLIN WORK AND CANVAS EMBROIDERY. 



41 



Four tent-stitches, just ocnpy the space of 
one cross-stitch a tent-stitch being taken diagon- 
ally from one space to the next above it to the left,. 

Tent stitch and Cross Stitch are distin- 
guished among the French by the names of Petit 
•point and Gros point. 

Irish Stitch is extremely simple, and very 
rapidly done. It consists of a series of upright 
stitches which cross the horizontal lines, and are 
worked between the perpendicular ones. For the 
first line, (beginning at the left hand corner,) bring 
up the needle in the lowest vacant space, and put 
it down in the fourth above it, allowing it to cover 
four bars of thread ; bring up the needle on the 
line with the first stitch, with one upright thread 
between, and down on the third space, the wool 
covering two threads. .Repeat these alternate 
short and long stitches, throughout the line. The 
next and following lines, every stitch must cover 
four threads ; and as you bring out the needle in 
the space in which you brought it down in the 
last row, the stitches are still alternately two 
threads higher than the intermediate ones. 

German Stitch is very similar to the above ; 



but the stitches are taken diagonally. The first 
stitch is taken irom one space to the next 
diagonal one; in the second, one space is missed; 
so that the stitches are alternately iong and short. 
All the following rows are worked like the first, 
care being taken that the long stitches of one 
row shall join the short, and vice versa. This 
stitch is only used for grounding. 

Gobelin Stitch is that which is more pecu- 
liarly fitted for delicate and beautiful picture 
working; but the needle requires a really artistic 
hand to direct it. in funning patterns in this 
stitch. The wool crosses two threads in height, 
but only one in width; two tapestry stitches 
therefore, are equal to a cross stitch, remem- 
bering that the square so formed is not a true one. 

Some writers enumerate other stitches on 
canvas ; but the best authors reckon the above 
named only, all others being merely varieties of 
them. 

You will observe that any pattern may be 
made larger or smaller than the original when 
worked, simply by selecting the canvas that will 
effect the requisite alteration. "When you choose 



42 



BERLIN WORK AND CANVAS EMBROIDERY. 



your Berlin pattern, consider what size you will 
desire your work to be, and calculate by the 
scale I have already given you, what canvas will 
be needed ; and also whether it will require to 
be worked in tent-stitch or in cross-stitch. If 
for the former you may reckon a thread of canvas 
for every square. For the most part, Berlin 
patterns are intended to be worked in tent- 
stitch ; but some have each square in the more 
delicate parts divided into four. When this is 
the case, the mass must be worked in cross, and 
the fine parts in tent-stitch ; otherwise it is 
quite optional. 

I must repeaat my previous caution not to at- 
tempt Berlin patterns on German canvas. Figure 
pieces especially, would suffer materially in the 
effect from the want of squareness in the canvas. 
Jt is not advisable to attempt reducing very ma- 
terially a pa'Jtern crowded with subjects ; nor, 
on the other hand, to enlarge one that has few. 
The reason of this is obvious. 

TO FRAME CANVAS. 

There is considerable art in doing this pro- 



perly ; and if negligently arranged, it is certain 
that the work will be distorted when complete. 

Turn down the canvas and herringbone it at 
each raw edge : then sew it to the webbing of 
the frame, thread by thread. When the first 
end is sewed, take care that the other end shall 
be as nearly as possible opposite it. If too large 
for the frame, wrap some clean silver paper several 
times round the roller, before the canvas goes 
round it. 

The part where the pattern is to be begun is 
the only part to be exposed in the frame. The 
sides must then be tightly braced with fine twine ; 
and the canvas is then ready for the work. 
Berlin work is often done on canvas, with cloth, 
satin or velvet underneath it : this saves the 
labor of grounding, as the pattern being worked, 
the superfluous canvas is cut away, and the em- 
broidery appears on the solid material. Sonic 
people draw out the threads of the canvas : this- 
is not only very troublesome, but it also spoilt, 
the effect of the work. Small intermediate 
spaces of canvas, not covered with embroidery, 
are usually grounded with wool exactly the color 
of the cloth 



BERLIN WORK AND CANVAS EMBROIDERY. 



43 



In framing cloth and canvas together, it must 
be borne in mind that the former stretches con- 
siderably more than the latter. If therefore, 
they are intended to be the same size, the cloth 
must be cut rather narrower, and (the edges 
being turned in,) must be firmly tacked to the 
selvages of the canvas. This will, of course, 
render the edges thicker than the centre; and 
to equalize the height, paper should be wrapt 
round the roller. 

All patterns should be commenced at the left 
hand corner, unless they are intended for a 
centre • when the work must be begun on the 
centre stitch. 

Delicate grounds should never be attempted 
on any but perfectly white canvas ; and black 



grounds should always be avoided, if prac- 
ticable. 

The last direction I can give is to ensure a 
proper quantity of wool to begin with ; as there 
is often great difficulty in matching shades, espe- 
cially for grounding. 



The needles principally used are tapestry needles, 
which are thick and blunt and have a long open 
eye, — Sharps, which are similar needles with 
sharp poinis, and are used for working ou thicker 
substances than canvas, — as cloth, &c. ; and short 
long eyes, which are used for the same pur| - 
and are like common needles, but very short, and 
with long eyes. 



44 



CROCHET COLLAR, 






CROCHET COLLAR 

[SEE FIG. I, FRONTISPIECE.] 



Materials. — Crochet cotton, No. 30. Crochet 
hook, No. 20, or 21. Make 320 chain. 

1st. — X2 tc. in one chain, 1 ch., miss 1 X. 
Eepeat. 

2nd. — X 1 tc. under every chain, 3 ch., miss 2 
tc. X. Eepeat. 

3rd. — X Sc. in every alternative loop of 3 ch.,8 
ch. X ; repeat. 

4th and 5th. — X sc. through every loop with 8 
ch. between X. Repeat. 

6th. — dc. in every loop. 

7th. — X 10 tc, 1 ch., 10 tc, without missing 
any; 8 ch., miss G, 1, dc, 8 ch., miss 6X, 12 
tunes, but ending with the 2nd 10 tc. 

8th. — 10 tc. on first 10 of last row, 2 ch., miss 
1, 9 tc, X 8 ch., 1 tc on dc, 8 ch., 9 tc, be- 
ginning on the 2nd of 10, 2 ch., miss 1, 9 tc. X 10 
times, 8 ch., 1 tc. on dc, 8 ch., 9 tc. (beginning 
on the 2nd), 2ch.,miss 1, 10 tc. 



9th.— 10 tc, 2 ch., miss 2, 8 tc X 6 ch., 1 tc. 
on tc., 4 ch., 1 tc. on the same, 6 ch., 8 tc, be- 
ginning on the 2nd of last row, 2 ch., miss 2, 8 
tc X 10 times ; 6 ch., 1 tc. on tc, 4 ch., 1 tc. 
on same, 6 ch., 8 tc (beginning on 2nd of last 
row), 2 ch., miss 2, 10 tc. 

10th.— 10 tc, miss 2, 3 ch., 5 tc, X 6 ch., 1 
tc. in loop, * 4 ch., I tc. in the same loop * twice, 
6 ch., 5 tc. (beginning on 3rd), 3 ch., miss 2, 5 
tc. X 10 times, 6 ch., 1 tc. into loop, f 4 ch., 
1 tc. into same, f twice 6 ch., 5 tc. (beginning 
on 3rd), 3 ch., miss 2, 10 tc. 

1 1th. — 16 tc. in 16 successive stitches, X 6 ch., 
1 tc. into first loop * 4 ch., 1 tc. into the same 
loop, * twice, 1 tc. into the next loop, f 4 ch., 
1 tc into same, f twice ; 6 ch., 9 tc. in 9 succes- 
sive stitches, beginning on the 3rd of the pre- 
vious row, X 10 times; 6 ch., 1 tc. into first 
loop, If 4 ch., 1 tc into the same, ^] twice; 1 tc. 



CROCHET COLLAR. 



45 



rnto the next, (a) 4 ch„ 1 tc. into the same (a), 
twice ; 6 ch , 16 tc. 

12th— 14 tc. X 6 ch. ' tc. into first loop, 4 
ch., I tc, into the same ; 10 ch., 1 tc. into the 
last loop, 4 ch., 1 tc. into the same, 6 ch., 5 tc. 
(beginning on 3rd), X 10 times; 6 ch., 1 tc. into 
1st loop, 4 ch. 1 tc. into the same, 10 ch., 1 tc. 
into the last loop, 4 ch., 1 tc into the same, 6, 
ch., 14 tc. 

13th.— 12 tc, X 6 ch., * 1 tc, 4 ch., * 10 
times through the 10 ch. ; 6 ch., 3 tc, X 10 
times ; 6 ch., f 1 tc, 4 ch. through 10 ch., f 10 
times ; 6 ch., 12 tc. 

14th.— 10 tc. X 6 ch., 1 tc. under the 6 ch. of 
the last row ; 4 ch., 1 tc. ; repeat into each 
loop; 4 ch., 1 tc. under the 6 ch., 6 ch., 1 dc. 
on centre of 3 tc, X 10 times ; 6 ch., 1 tc. under 
previous 6 ch., 4 ch., 1 tc in every loop as be- 
fore ; 4 ch., I tc under 6 ch., 6 ch., 10 tc 

15th. — 8c on end of the first row, 9 ch., sc. 
on 3rd row, 9 ch., sc. on 5th row, 9 ch., sc. on 



8th row, 9 ch., sc. on 10th row, 9 ch., sc. on 12th 
row, 10 ch., sc. on first tc. stitch of last row, 
10 ch., sc. on 8th tc. X 4 ch., tc under 6 ch. 
4 ch., 1 tc. into each loop, X repeat until you 
come to the last 9 tc. stitches, when repeat back- 
wards from before the 4 ch. to the commence- 
ment of the row. 

16th. — Sc. 10 ch., sc into every loop, until 
you come to the one of 4 ch ; then work 5 dc. 
into every loop, 10 ch. to the last 4 ch. End as 
you began. 

17th. — Sc. 11 ch., sc. in every loop until you 
come to the 5 dc. ; then X 4 ch., sc. through 
every loop, X to the last 5 dc. Make the second 
end to correspond with the first. 

Those who crochet very loosely should use a 
hook still smaller than the one I have recom- 
mended ; as the collar, to look well, should be 
done very tightly. 



46 



KNITTED LACE UNDER SLEEVE. 



KNITTED LACE U N DEE, S L EE V E, 

[Fig. 2.] 



Materials. — Crochet cotton, No. 40 ; 2 steel 
knitting needles, No. 20. Cast on 101 stitches. 
Purl one row. 

1st. — Knit 1, X m. i, slip 1, k. 2 t., pass the 
slip stitch over, m. 1, k. 1 X, repeat. 

2nd;— Purled. 

Knit from 50 to 60 rows in this manner, and 
cast off. This forms one puffing ; and, of course, 
for a pair of sleeves, you will require four. 

For the Insertion. — Cast on 13 stitches ; 
knit one row, purl 1, knit 1, purl 1 ; then begin 
the pattern. 

lbt— K. 1, m. 1, k 2 t., k. 3, m. 1, k. 2 t., 
k. 3, m. 1, k. 2 t. 

2nd, and every alternate row. — K. 3, p. 7, k. 3. 

3rd.— K.l, in. 1, k. 2 t., k. 1, k. 2 t., m. 1, 
k. 1, m. 1, k. 2 t., k. 2, rn. 1, k. 2 t. 

5th.— K. 1, rn. 1, k. 2 t., k. 2 t., m. 1, k. 3, 
m. 1, k. 2 t, k. 1 m. 1, k. 2 t. 



7th. — K. 1 m. 1, slip 1, k. 2 t., pass the slip 
stitch over, m. 1, k. 5, X m. 1, k. 2 t., X twice. 

8th. — As 2nd, which completes the pattern. 

Do as much of this as may be required for tho 
wrists, allowing a few plain rows at the end to 
set a button on ; and also two pieces to be in- 
serted between the puffs, which must be put 
rather full into the bands. At the top of the 
upper puff, sew on a muslin band, which may be 
tacked in the dress. 

According to the present style of sleeves, the 
ruffle should not fall over the hand, but should 
be sewed at the other edge of the wristband 
with the puff, on which it must fall back. For 
cold weather, an under sleeve of sarsenet, made 
of the same dimensions as the knitted one, and 
tacked under it, will be found a very great im- 
provement ', and if of a colour that will har- 
monise with the dress, will be very becoming. 



KNITTED LACE UNDER SLEEVE. 4T 

Knitted Lace Ruffle. — Cotton No. 50 ;. 7th. — K 2, rn. I, k. 2 t., k. 2 t, m. 1, k. 3, 

Needles, No. 22. Cast on 17 stitches. m. 1, k. 2 t, k. 2, m. 2, slip 1, k. 3 t.. pass the 

1st Eow. — Knit 2, m. 1, k. 2 t, k 1, m. 1, slip stitch over, m. 2, k. 2 t., k. 2 t. 

k. 2 t., k. 1, slip 1, k. 1, pass the slip stitch over, 8th — K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5, 

rn. 1, k. 3, m. 2, k. 2 t., m. 2, k. 2. 9th.— Like 3rd. 

2nd.— K. 3, p. 1, k. 2, p. 1, k. 3, p. 5, k. 5. 10th.— Cast off 3, k. 6, p. 2, m. 1, p. 2 t 

3rd.— K. 2, in. 1, k. 2 t, k. 1, m. 1, k. 2 t, p. 1, k. 5. 
k. 1, slip 1 k. 1, pass the slip stitch over, in. 1. 

k. 10. This lace should be put on rather full ; and on 

4th. — K 2, m. 2, k. 2 t, k. 1, k. 2 t., m. 2. no account should knitted articles be ironed by 

k. 2 t., k. 2, p. 3, k. 6. the laundress. It is quite sufficient to pull them 

5th. — K. 2, m. 1, k. 2 i, k. 2, m. 1, k. 3 t., into proper shape whilst they are drying at the 

m 1, k. 4, p. 1, k. 4 p. 1, k. 2, fire. 

6th — K. 12, p. 3 k. G. 



■+***>+* ^■^•vsw- 



INSERTIONS IN EMBROIDERY. 

[Figs. 7 & 8.] 

Suitable for the fronts of shirts, and for of the leaves and cups of the flowers may be 
other purposes; to be worked in satin stitch, done in very small eyelet-holes. The stalks 
with embroidery cotton, No. 80. The centres sewn over with extreme neatness. 



48 



TABLE MAT 



TABLE MAT. 

[Fig. 3.] 



Materials. — Shaded green and scarlet 8 
thread Berlin wool ; bone crochet hook. Make 
a chain of six and form it into a round. 

1st Eound. — 12 dc. 

2nd. — 4 ch., miss 1 sc. in 2nd. stitch ; repeat all 
round. 

3rd.— Like 2nd. 

4. — Scarlet wool ; 6 ch., sc. under the loop 
of 4 ch ; repeat. 

5th. — 7 ch., sc. under 6 ch. of former round ; 
repeat. 

Gth. — 9 ch. worked as before. 

7th. — 12 ch. worked as before : fasten off the 
scm-let and begin with the green wool once more. 

8th. — 12 tc. on 12 ch. of last round, miss sc. 
stitch ; repeat. 

9th. — Sc. on 2nd. stitch, 2 ch., miss 1 ; repeat. 

10th. — -\- 1 tc, 3 ch., miss 3 -f ; repeat. 

11th. — -j" 1 tc, or tc of last round, 4 ch. X ; 
repeat 



-j- Dc. on 4 ch. of last round, 1 ch. X ; 
tc on 4 dc. of last 



12th. 
repeat. 

13th. — ("Scarlet wool,] 4 
round, 1 ch. ; repeat. 

14th — -f- 9 dc. on 9 stitches, of last round, 9 
ch., dc. into same stitch as the last -f- ; repeat. 

15th. — 6 ch., sc. in 3rd dc of last round ; re- 
peat this twice more; 8 ch., unite into the loop 
formed by 9 ch. in last round ; three times more, 
then repeat from the commencement' of the 15th 
round. 

16th — Sc. m centre loop of 8 ch. in scallop; 
1 ch., sc into centre loop of 8 ch. in next scal- 
lop, 11 ch. ; repeat. 

17th. — 12 ch., sc in third stitch ; repeat. 

18th. — 12 dc through every chain of 12 in 
last round. 

19th. — 5 ch. unite with sc on the point of the 
loop ; repeat. 

20th — Dc. all round, and fasten off. 



GENTLEMEN'S KNITTED BRACES. 



■\? 



GENTLEMEN'S KNITTED BRACES. 

[Fig. 4.] 



Materials. — Pich, dark blue, or crimson cro- 
chet silk ; two knitting needles, No. 14. Cast 
on 19 stitches. 

1st. Row. — K. 2, m. 1, k. 1, slip l,k. 1, pass 
the slip stitch over, p. 1, k. 2 t., k. 1, p. 1, k. 1, 
slip 1, k. 1, pass the slip stitch over, p. 1, k. 2 t., 
k. 1, m, 1, k. 2. 

2nd.— P. 5, k. 1, p. 2, k. 1, p. 2, k. 1, p, 5. 

3rd. — K. 2, m. 1, k. 1, m. 1, slip 1, k. 1, pass 
the slip stitch over, p. 1, k. 2 t., p. 1, slip 1, k. 
1, pass the slip stitch over, m. 1, k. 1, in- 1, k. 2. 

4th.— P. 6, k. 1, p 1, k. 1, p. 1, k 1, p. 6. 



5th.— K, 2, m. 1, k. 3, m. 1, slip 1, k. 2t, pass 
the slip stitch over, p. 1, slip 1, k. 2 t, pass the 
slip stitch over, m. 1, k. 3, m. 1, k. 2. 

6th.— P. 8, k, .1, p. 8. 

7th.— K. 2, m. 1, k. 5, m. 1, slip 1, k, 2 t, pa?s 
the slip stitch over, m. 1, k. 5, m. 1, k. 2. 

8th.— Purled. 

Kepeat this pattern until you have done the 
length required for one half of the braces. Then 
cast on, and do another length. "When made up. 
they should be lined with white Petersham rib- 
bon, and finished with white kid trimmings. 



wv,AA,A ^VS/^»*v--~-. 



[Fig. 5.] 

SMALL GIMPS IN CROCHET 

Materials. — Crochet cotton, No. 6; crochet No.— 1. — Make a chain the length required and 
took, No. 18. then work back in dc. This is a very neat little 



50 jrrors anti-mac assail 

trimming for children's dresses; and if required on the skirt of a dress, as the wools of which it 

to be made of silk and purse twist be used, will should then be made, can be procured of any 

be found to answer every purpose for which a shade whatever, which the braid itself cannot, 

narrow gimp may be required. It forms also an No. 2. — Make a chain of the length required, 

excllent substitute for the braid wmch is run and on it work 1 dc. 1 ch. miss 1. 



Aiv//it .y^vN^**-*" 



JUDY'S ANTI-MACASSAR. 



Materials. — Crochet cotton, No. 10; crochet 
hook, No. 16 133 ch. 

Four rows of open square crochet. 

5th. — 20 os., 4 dc, 3 ch., miss 3, 12 dc, 2 ch., 
17 os., 1 dc 

6th. — 10 os., 1 dc, 1 ch., miss 1 1G dc, 2 ch, 
miss 2, 3 os., 9 dc, 1 ch., miss 1, 21 os., 1 dc. 

7th. — 10 os., 1 dc, 1 ch-, miss 1, 59 dc, 2 ch. 
miss 2, 13 os. 1 dc. 

Sth and 9th — The same. 

10th. — 11 os., 1 dc, 1 ch., miss 1, 54 dc, 1 ch., 
misfj 1, 14 os., 1 dc 



.6.] 

11th, 12th, and 13th.— Like 10th. 

14th.— 12 os., 20 dc, 1 ch., miss 1, 32 dc, 1 ch., 
miss 1, 14 os., 1 dc. 

15 th.— Like 14 th. 

16th. — 12 os, 20 dc , 1 ch.,miss 1, 17 dc, 1 ch., 
miss 1, 14 dc, 1 ch., miss 1, 14 os., 1 dc 

17th. — 12 os. 7 dc, 1 ch., miss 1, 11 dc, 1 ch., 
miss 1,18 dc, 1 ch., miss 1,13 dc, 2 ch., miss 2, 

14 os., 1 dc 

1 Sth. — 12 os., 7 dc, 1 ch., miss 1, 1 1 dc, 1 ch., 
miss 1, IS dc, 1 ch.,miss 1, 11 dc, 1 ch., miss 1, 

15 os. 1 dc 



JUDY'S ANTI-MACASSAR. 



SI 



10th.— 12 os., 7 da, 1 ch.. miss 1,13 da, 1 ch., 29th.— 16 os., 1 da, 1 ch., miss 1, 11 da, 1 ch., 
miss 1, 16 da, 1 ch., miss 1, 10 da, 2 ch.,miss2, miss 1, 11 da, 1 ch., miss 1, 5 da, 2 ch., mis- . 



15 os., 1 da 

20th. — 12 os., 1 da, I ch., miss 1, 7 da, 1 ch., 
miss 1, 11 da, 1 ch., miss 1, 16 da, 1 ch., miss 1, 

8 da, 1 ch., miss 1, 16 os., 1 da 

21st. — 12 os., 1 da, 1 ch., miss 1, 7 da, 1 ch., 
miss 1, 11 da, 1 ch., miss 1, 14 da, 1 ch., miss 1, 

9 da, 2 ch. miss 2, 16 os. 3, 1, da 

22nd. — 13 os., 7 da, 1 ch., miss 1, 12 da 1 ch., 
miss 1, 12 da, 1 ch., miss 1, 7 da, 1 ch., miss 1, 
17 os., 1 da 

23rd. — 13 os., 1 da, 1 ch., miss 1, 7 da, I ch., 



3 os., 1 da, 1 ch., miss 1,3 da, 1 ch.,missl, 12 os, 
1 da 

30th. — 15 os., 1 da, 1 eh., miss 1, 12 da, 1 ch., 
miss 1. 1 1 da, 1 ch., miss 1, 7 da, 2 ch., miss 2, 
17 os., 1 da 

31st. — 15 os., 1 da, 1 ch., miss 1, 10 da, 1 ch., 
miss 1, 11 da, 1 ch., miss 1, 10 da, 1 ch., miss 1, 
17 os., 1 da 

32nd. — 15 os., 23 da. 1 ch , miss 1, 13 da,2ch., 
miss 2, 16 os., 1 da 

33rd. — 15 os., 21 da, 1 ch., miss 1,15 da, 2 ch., 



miss 1,10 da, 1 ch., miss 1,10 da, 1 ch., miss 1, miss 2, 16 os., 1 da 

8 da, 2 ch., miss 2, 17 os. 1 da 34th. — 15 os., 19 da, 1 ch., miss 1, 15 da, 1 ch., 

24th. — 14 os., 35 da, 1 ch., miss 1, 18 os., 1 da miss 1,17 os., 1 da 

25th — 15 os., 40 da 2 ch., miss 2, 15 os., 1 da 35th. — 15 os., 1 da, 1 ch., miss 1, 32 da 2 ch., 

26th. — 17 os., 1 da. 1 ch., miss 1, 41 da, 2 eh., miss 2, 17 os., 1 da 
miss 2, 12 os., 1 da 36th. — 16 os., 28 da. 2 ch.. miss 2. IS os., 1 da 

27th. — 1 os., 1 da, 1 ch., miss 1, 12 da, 1 ch., 37th. — 16 os., 1 dc 1 ch., miss 1, 29 da, 2 ch., 

miss 1, 11 da, 1 ch., miss 1, 16 da, 2 ch., miss 2, miss 2, 17 os., 1 da 
12 os., 1 da 33th — l t 6 os., I da, 1 ch.. miss 1, 30 da, 1 ch.. 

28th. — 17 os., 12 da, 1 ch.,miss 1, 10 da, 1 ch., miss 1, 17 os., 1 da 
miss 1, 2 da, 1 ch., miss 1, I os., 13 da, 2 ch., 39th. — 17 os., 25 da, 1 ch-, miss 1, 3 da, 1 ch., 

miss 2, 12 os., 1 dc. miss 1, 17 os., 1 da 




JUDY'S ANTI-MACASSAR. 



ss 1, 17 os., 1 dc. 

45th. — 14 os., 20 do., 1 ch., mil 
ch., miss 2, 17 os., 1 dc. 

46th. — 1 3 os., 23 dc, 1 ch., miss 
miss 2, 4 dc., 2 ch 

47th. — 12 oa.. 1 



! os., 23 dc, 1 ch., miss 1, 7 dc, 
j., 2 ch., miss 2, 18 os., l dc. 
47th. — 12 os., I dc, 1 ch., miss 1, 8 dc, 
muss l, 29 dc, 2 ch., miss 2, 18 os., l dc 



2ch., 
2 ch, 
2ch., 
1 ch., 
1 ch., 
dc, 2 
2ch., 
1 ch., 



48th — 13 os., 35 dc, l ch., miss l 19 os., 
1 dc 

49th. — 13 os., 1 dc., l ch., miss 1, 30 dc, 1 ch., 
miss 1 20 os., l dc. 

50th — 13 os., 1 dc, 1 ch., miss 1, 15 dc, 1 ch., 
miss 1, l dc, 1 ch., miss i, 12 dc, 1 ch., miss l, 
20 os., 1 dc 

51st — 14 os., 13 dc, 2 ch., miss 2, 1 dc, 2 ch., 
miss 2, 1 dc , 1 ch., miss 1, 8 do., 2 ch., miss 2, 20 
os., 1 dc 

52nd. — 14 os., 10 dc, 2 ch., miss 2, 3 os., 5 dc. 
1 ch., miss 1, 21 os., 1 dc 

53rd. — 15 os., 6 dc, 2 ch., miss 2, 26 os., 1 dc. 

54th to 57th inclusive. — In open square crochet. 

The border to he the same as that given for 
Punch's Anti-Macassar, in part I. of this book. 



CROCHET D'OYLEY. 



ft* 



CROCHET D'OYLEY. 

[Fig. 9.] 



Materials. — 7 shades of Berlin wool ; bone 
hook. 

Make a chain of 9, and form it into a round. 

1st. — Dc , increasing 3 in the round. 

2nd. — 6 ch., 1 tc, miss 3. Repeat. 

3rd. — 8c. on centre of 6 ch., 9 ch. Repeat. 

4th. — Sc. on centre of 9 ch., 12 ch. Repeat. 

5th. Sc. on centre of 12 ch., 15 ch., sc on 
game stitch, and work 1 sc, 2 dc, 14 tc, 2 dc, 
1 sc. in the loop thus formed. Fasten off, and 
repeat in the centre of every 12 ch. 

6th. — Begin on the point of the leaf with a 
sc. stitch ; 15 ch., sc on point of next leaf, and 
so on. 

7th and 8th. — Dc all round. 

9th — X Sc, 6 ch., miss 2, X. Repeat. 



10th. — X Sc. on centre of 6 ch., 9 CD, X ; 

Repeat. 

11th. — X Sc. on centre of 9 ch., 12 ch., X ; 
repeat. 

12th. — X Sc on centre of 12 ch., 9 ch., X ; re- 
peat. 

1 3th.— Dc. 

14th. — Dc, working two stitches into even- 
one. 

15th. — Sc. on the centre of one of the spaces. 
X 12 ch., sc. in same stitch three times, 12 ch., sc 
on centre of next space. And repeat from X. 

16th — Dc all round. 

17th. — Sc, X 5 ch., miss 2, sc. in 3rd X. Re- 
peat all round, and fasten off. 

£ 2- 



Vi 



■fit* 



Point Lace 
is now so fash- 
ionable that ve- 
ry few are unac- 
quainted with 
its appearance; 
but perhaps 
some of my rea- 
ders will be sur- 
prised when told 
that the whole 
of the genuine 
1'oint Lace is 
the production 
of the needle ; 
not merely the 
-lose and heavy 
parts are so 
made, but the 
most exquisite- 
ly delicate nets, 
of which, of late i 
years, we have I! 



POINT LACE STITCHES. 



POINT LACE STITCHES. 




had imitations 
from the loom, 
are all alike pro- 
duced by the 
common cswiig 
needle. 

The work of 
which we treat 
here may be re- 
garded not as 
an imitation of 
the valuable and 
i beautiful work 
of ancient times, 
but rather as an 
actual revival 
of an art which 
has unfortunate- 
ly been suffer- 
ed to sink in- 
to oblivion. Of 
course, at pres- 
out, I content 



POINT LACE STITCHES. 



55 



myself with giving very Pimple Point Lace pat- 
terns ; but, as my fair readers advance in know- 
ledge, I shall give them specimens which will still 
more exercise their skill and patience. 

Point Lace stitches are worked on a foundation 
of braid or tape ; or, sometimes, cambric. At 
present, I chiefly use braid, it being the more 
comeatable material, and answering extremely 
well for delicate articles. It is the kind termed 
French white cotton braid, being very closely 
and evenly plaited. That used for large patterns 
is No. 9 ; for delicate work, a still narrower braid 
may be employed. 

Very much of the beauty of Point Lace de- 
pends of course, on the skill of the workers ; but 
it would not be exaggeration to assert that even 
more is the result of the adaptation of the materials. 
A very great variety of cotton and linen thread is 
absolutely necessary ; not less than nine different 
kinds entering frequently into the composition 
of one single collar : those I use are termed 
Evans's Point Lace Cottons, manufactured by 
Messrs. "Walter Evans and Co., of Derby ; and 
they are as superior to all others that I have tried 



as it is possible to imagine. They are sold se- 
lected and arranged properly for this kind of 
work. 

The pattern being drawn in outline, on colored 
paper, is to be then pasted on calico or linen ; 
when quite dry, beuin to braid it, by laying on 
the braid, and running it on the paper with a 
fine needle and cotton, Xo. 50. The stitches are 
to be taken through the paper, and not very . \ - - 
ly together, except where points of leaves and 
other angularities occur. In these places the 
braid is sewed at each end of the pattern and 
turned back; this is termed mitreing. The Btit 
ches must be taken across the braid, as it is not 
liable then to become wider. 

The stitches which are used in the specimens I 
have hitherto made in point lace are the following, 
which may be divided into three kinds : edgings, 
laces, and connecting bars. 

The use of the edgings is sufficiently obvious : 
they form narrow borderings to the braid or 
other material which is the foundation of the 
lace. 

The lace stitches are used to fill up open parts 



50 



POINT LACE STITCHES. 



in the design, such as the leaves, flowers, or fruit, 
the mere outlines of which are made in the braid. 
Finally, the connecting stitches unite the several 
parts into one perfect mass of work. 

EDGES.— Brussels Edging (No. 1). -This is 
merely the common button-hole stitch, or (as it is 
sometimes called) glove stitch. It is worked 
nearly at the edge of the braid, and differs only 
from the ordinary button-hole because the stitch- 
es are taken at the distance of the fourteenth part 
of an inch apart, and, as the thread is not drawn 
tightly, each stitch forms a small loop. It is 
worked from left to right. 

Veneiian Edging (No. 2). — The first stitch is 
taktn as in Brussels edging, and in the loop thus 
formed, four tight button-hole stitches are 
worked. 

Sorrentine Edging (No. 3). — Make a stitch 
as in Brussels edging, but the eighth of an inch 
long ; work one button-hole stitch in the loop ; 
repeat at the distance of the sixteenth of an inch ; 
two stitches are thus formed, one of which is half 
the length of the other Bepeat. 



LACES. — Brussels Lace (No. 4) is worked 
by doing a line of Brussels edging in the space to 
be filled up, and then another line, from right to 
left, putting the needle, at every stitch, through 
one of the loops of the first row. These lines are 
to be repeated, backwards and forwards, unti 1 
the part is completed. In working the last 
row, run the needle through the braid after every 
stitch. 

Venetian Lace (No. 5). — The beautiful close- 
ly-dotted appearance, characteristic of this lace, 
is obtained by working consecutive rows of Ven- 
etian edging, not backward and forwards, but 
always from left to right, fastening off after com- 
pleting each line; or, if the space be very small, 
running the needle in the braid back to the place 
where the next line is to be begun. 

English Lace (No. 6) is tised principally to 
fill up large open spaces. Make a series of di- 
agonal bars across the space to be filled up, se- 
curing the tightness of each thread by working a 
button hole stitch on the braid, before slipping 
the needle to the nest place ; cross these bars by 
others, in the contrary direction, and at the same 



POINT LACE STITCHES. 



57 



distance (one eighth of an inch) apart. "Wher- 
ever the bars cross each other, work a small spot, 
by passing the needle alternately under and over 
the threads, five or six times round. Twist the 
threads twice round each other in bringing 
the needle to the nest cross, and repeat until a 
spot is made at every one. Observe, that in 
crossing the first bars you slip the needle alter- 
nately under and over them. 

Open English Lace (No. 7) is commenced 
like the preceding, but when the two lines of 
diagonal bars are made, a line of perpendicular 
and one of horizontal threads must be added. 
The spot will thus be worked on eight threads 
instead of four. The lines to be at the rate of 
five to an inch. 

English Rosettes (No. 8). — Another beauti- 
ful style of English point. It is a kind of spot, 
which looks like the miniature of the rosette on a 
baby's oap, whence its name is derived. A single 
spo' ; s only used in one space, and the size is to be 
suited to it. The open space is crossed with 
four, six or eight twisted threads ; the last thread 
to be twisted only to the centre, where all 



are to be firmly joined by working one or 
two tight button-hole stitches. Make the ro- 
sette by passing the needle round one thread 
and under the next, then round that and under 
the succeeding; continue until you have made a 
rosette as large as the space requires, working 
from four to ten times round. Stop at the 
single thread, twist round it, and fasten oft'. 

Mechlin Lace (No. 9). — This is one of the 
most beautiful, and at the same time, complicated 
stitches in the list. Those who have worked it, 
however, all confess that the eft'ect amply re] 
the trouble. It is worked thus : A number of 
diagonal bars, each of a single thread, cross each 
other in the space to be filled up. at the distance 
of one-quarter of an inch from each other. Then 
all the bars in one direction are to be covered 
with button-hole stitch. Begin in the oppo- 
site direction, in the same way, and work it 
nearly to the crossing of the two. Pass the 
thread loosely round the cross twice, slipping the 
needle under one and over another thread, so as 
to form the small circie seen in the engraving. 
This is to be covered with button-hole stitch; 



M 



POINT LACE STITCHES 



aud as, from the looseness of the thread, it is 
otherwise somewhat troublesome to work it, pin 
it down on the paper with a second needle. In 
the middle of each quarter of every alternate 
round, a dot is to be worked thus : instead of 
drawing the thread tight, as usual, put in the 
loop a pin, which is to keep it about the eighth 
ot" an inch in length. On this loop work three 
button-hole stitches ; and withdraw the pin, and 
continue the round. 

Valenciennes Lace (No. 20,) has a very heavy 
appearance, and contrasts admirably with lighter 
stitches. A space to he so tilled up has a number 
of radiating threads, meeting, in a common centre, 
to be very closely darned with extremely line 
thread. 

Henriquez Lace (No. 11), is, on the con- 
trary, a very light and delicate stitch. It must 
nevet be done with Coarser thread than Evans's 
boar's head, 120. With this make a diagonal 
line across the space to be so tilled in, and return 
your needle to the point you begun from, by twist- 
ing the thread back again. Make another line, 
parallel with this one, and not more than the tenth 



of an inch from it. Twist it over four times, then 
on the single and double thread form a spot, by 
darning the three backwards and forwards about 
sixteen times. To do this, you must separate 
the two threads twisted together whenever you 
make a spot. Continue twisting your needle 
round the single thread, for the space of one- 
quarter of an inch, when yon will form another 
dot. Repeat until this line is finished. Make 
similar ones at one quarter of an inch apart in 
the entire space ; and then cross them with 
others, worked in precisely the same manner, in 
exactly the opposite direction. Take care that 
where the lines cross each other the thread is 
twisted between the first bar and the second, 
that a small, clear square may be maintained. 

Cordovan Lace [No. 12], is similar to the pre- 
ceding, but less delicate and less troublesome. 
Two twisted bars are made the tenth of an inch 
apart, and a third single one, in going back on 
which the spots are worked on two twisted 
threads and the single one. They are also crossed 
by similar ones, the crossing of the threads form- 
ing; a diamond of four holes. 



POINT LACE STITCHES. 



CONNECTING- BAES are stitches used in 
.'he various kinds of point lace, to unite different 
parts. The most simple is the 

Sorrento Bar (No. 13), which is made by 
passing a thread from one part to another, fasten- 
ing it by a tight stitch, and twisting the thread 
back on the bar thus formed; pass the thread 
round until it appears as much twisted as a rope. 

Bars in Alenoon Point (No. 14). — This is 
almost the same as ous common herringbone 
stitch, but the needle is passed under the last 
thread after every stitch before taking another, 
which twists the two together. Where the spaceia 
more than half- an-ineh wide, it is requisite to pass 
the needle more than once under after every stitch. 

Venetian Bars (No. 15). — Pass the needle 
backwards and forwards two or three times, and 
work the bar thus formed in close button-hole 
stitch. If it be a' cross bar, work the button- 
hole stitch half the length; make the bar in the 
opposite direction, work that ; and if another is 
required, do the same before finishing the first bar. 

Edged Venetian Bars (No. 16) are merely 



the above edged on each side with Bru.-s. .-'.- 
Sorrento edging:. 

Dotted Venetian Bars (No. 17.) — To make 
these bars, pass the thread across the space two 
or three times, and make four button-hole .-tit 
on the bar thus formed; put a needle in the 
fourth, and draw it out until it will allow of 
three or four button-hole stitches being worked 
on it; continue the bar in the same ■■ 

English Bars (Xo. 15) are used to connect 
two lines of edging. Pass the needle backwai - 
and forwards between two opposite stitches four 
t^mes each way, always putting the needle in the 
■under Bide of the edge. Sometimes these bars 
are radtuitd, by missing a stitch more on one 
side than on the other. 

The marked characteristic of Spanish Point 
(No. 19) is a kind of heavy s-;t>;: stitch, v.ith 
which parts are ornamented. It is verv much 
raised, and afterwards worked in buttonhole 
stitch with fine linen Mecklenburgh thread. 

Continuous rows of Sorrento ed^es worked 
backwards and forwards, like Brussels Lace, form 



60 



POINT LACE STITCHES. 



a variety represented in a corner of the En- 
graving. 

The lower line of edging in the Engraving is 
termed Little Venetian. It is worked like the 
other, but with only one button-hole stitch. _ 

When, by means of these different stitches, 
the pattern is formed into a solid mass of work, 
the stitches at the back are to be cut, to de- 
tach the lace from the paper ; the threads may 



then be picked out and the article is com- 
plete. 

To join point lace on to cambric or muslin, 
make an extremely narrow hem on either, and 
lay the inner line of braiding on that. Join 
them together by running on the middle of the 
braid through the cambric, and then working a 
line of Brussels edge on to the inner part of the 
braid, taking every stitch through both sub- 
stances. 



CROCHET COLLAR. 



61 



Oc^ 



k 



CROCHET COLLAR 

[Fig. 1.] 



Materials. — Cotton, No. 30. Crotchet hook, 
No. 22 ; eagle card-board guage. 

Chain of 180 stitches, on which work a row 
of dc. 

2nd.— ■+■ 3 tc, 3 ch., miss 3, +. Eepeat. Fin- 
ish with 3 tc. 

3rd. — -f- 3 dc. on 3 tc, 3 ch., -|-. Eepeat. 

4th. — -f- sc. on 1st dc, 6 ch., miss 5, sc. on 
6th, -f-. Eepeat. 

5th. — Sc. on the centre of first loop, -f-, 7 ch., 
sc. on centre of next loop, -j-. Eepeat. 

6th. — Sc. on centre of first loop, -f- 6 ch., sc. on 
centre of next loop, -j - . Eepeat. 

7th row. — Dc on all the chain, missing every 
sc. stitch. 

8th. — Sc. on first stitch, 9 ch., sc. on same 
stitch,, 12 ch., sc. on same stitch, 9 ch., sc. on 
same stitch, turn the work, dc. in every chain of 
the 3 loops just formed, turn again, and work 



dc on the previous dc except the first 5. 7 ch., 
miss 5 stitches of the 7th row, 6 dc. on the 
next 6, -j-. Eepeat. 

9th. — Sc. on the point of the leaf of 9, 4 ch., 
-j-, sc on point of large leaf, 15 ch., -\~. Eepeat. 
Finish the row with 4 ch., sc. on point of last 
small leaf. 

10th. — Dc. in every stitch of the last row 
working 2 in every 4th. 

1 lth. — -f- 2 dc, 3 ch., miss 3, -f- until you come 
to the stitch over the large leaf, then make a 
loop of 6 ch., dc. into the same stitch. Ee- 
peat. 

12th. — Dc. on all the rest of the line, working 
every loop thus — 1 sc, 4 dc, 1 sc. 

15th. — Dc. in first dc. of last row, -\- 3 ch., 
miss 2, dc in 3rd-f-. Eepeat, but without missing 
any on the loops. 

16th. — Sc. on first chain of the foundation, and 



r.2 



MAT WITH BORDER OF MOSS CHERRIES, AND LEAVES. 



up the side work 4 ch., miss 2, 8 sc., sc. on every 2nd, repeat to the sc. stitches, then -f- 5 cb. miss 
stitch of the last row, and do. the other end of 2, sc. on 3rd, -f- to the end, which work like thv 
the collar like the first. 

17th. — Sc. under first loop, 5 ch., sc. under 



beginning:. 



~~*^sA^*#*/Vw*r. 



MAT WITH BORDER OF MOSS, CHERRIES, AND LEAVES. 

[Fig. 2.] 



Materials. — Halfan-ounce of bright cherry- 
coloured Berlin wool ; two shades of green ditto, 
or of chenille a broder, two skeins of the best 
green fleecy of different shades, or shaded Shet- 
land will do as well. 

For. the Moss. — If fleecy wool be used, it 
must be split, and a thread of each shade taken , 
by using Pyrenees wool this trouble is obviated. 
Take a pair of very fine knitting needles ; cast on 
16 to 20 stitches: knit a piece as tightly as 
possible, four times the length required: wet, 
and bake or dry it before the fire. When it is 
quite dry, cut off one edge throughout the whole 
length, and unravel all the stitches but two at the 



other edge. (Take care to begin to unravel at 
the end you left off knitting, or the wool will 
get entangled.) Fold it in four, and sew the 
edges together. This will make a very full moss 
fringe. 

For the Cherries. — Cut a number of rounds 
in card, each the diameter of a good-sized 
cherry. Cut a small hole in the middle of each 
take a needleful of Berlin wool, three times the 
length of your arm ; thread it with a rug 
needle; pass the needle in the hole of the card, 
holding the end of the wool with the left hand ; 
pass the wool ; lay it on the edge of the card, as 
if you were going to wind it ; pass the ueedle 



INITIALS IN EMBROIDERY. 



63 



through tho dole again ; repeat this until the 
whole needleful of wool is used. Then make a 
little tuft of wool on the end of a rather fine 
wire ; twist the wire tight and pass the ends 
into the hole of the card ; take a pair of sharp- 
pointed scissors, cut the wool all round the card ; 
with a bit of waxed thread, tie as tightly as pos- 
sible the little bunch of wool in the hole of the 
card, tear the card off, and pare the wool as 
smooth as velvet; cover the ends of wire with 
green wool or silk, and each cherry is completed. 
Leaves. — Make a cherry of 13 loops in green 
wool, and on them, miss 4, dc. in 5th, X 2 ch., 
miss 2, dc. in 3rd, X twice 1 ch., miss I, slip on 
first of 13. Take a piece of very fine wire and 



hold it in, while worktng round this open hen, 
leaving a short piece for a stem. "Work all roun * 
in tc, except the 2 first and 2 last 8 til 
which are to be 1 sc, 1 dc, and 1 dc, 1 sc. twist 
the two ends of wire together, cover them with 
wool. When sufficient leaves are done, form 
them into a wreath with the cherries, joining 
them by means of the e.'ds of wire ; insert them 
in the moss, and sew the border thus made 
round a mat of velvet, or work, lined with card- 
board, and with silk at the other side. 

This border may be used for any crochet or 
knitted mat ; the moss may be made more or 
less thick according to taste. A very full border 
would require six lengths. 



INITIALS IN EMBROIDERY 

[Fig. 3. J 



Materials. — Ingrain red and white embroi- 
dery cotton, No. 70 for linen, No. 80 for cam- 
bric. 



These Initials should be marked on the mate- 
rial, and then worked in the white cotton in 
raised satin stitch, after which a thread is to be 



64 



AUTOUR BOUTONS.— CARRIAGE BAG. 



run entirely round the work, and sewed over in 
red very closely indeed. 

Every angle and point must be made with th,a 



utmost accuracy, as on this the beauty of the 
letters greatly depends. 



^////#/^*» 



ATJTOTJR BOTTTONS. 

[Fig. 4.] 

Small pattern to surround shirt-studs ; to be small rounds in eyelet-holes to be made with a 
worked in embroidery cotton, No. 80. The fine stilleto, and sewed over. 



W//////W 



A VERY PRETTY CARRIAGE BAG. 

[Fig. 5.] 



Materials. — White and blue Berlin wool, 
halfan-ounce of each ; two flat meshes, not quite 
a quarter of an inch broad, a piece of French 
canvas. No. 24, one-half the size the bag is 
desired ; gros-de Naples, (the shade of the 
coloured wool) cord and tassels to match With 
the blue wool work on the canvass, in common 
cross stitch, a square of 6 stitch^ .n eve~y direc- 



tion ; miss an equal space and repeat. Thus the 
whole space of canvass must be prepared like a 
chess-board, the blue checks of one line coming 
between those of the previous, the third over 
those of the first line, and so on. Having com 
pleted this, take one of your meshes and a rug 
needle, threaded with white wool, work imme- 
diately over each blue square of tto first line 6 



D'OYLEY IN SQUARE CROCHET. 



C5 



stitches, thus : — Begin at tne top ot the stitch, lay 
the wool over the mesh, take two threads for the 
lower part of the stitch, pass the wool under the 
mesh, finish your stitch j repeat five times ; leave 
the mesh on the stitches ; take the second mesh, 
work a second row exactly alike over this ; then, 
at the top, a th>d row of white stitches, four 
threads long, and twc* hroad. 

Turn the work, and in the space which is now 
over, but was first under the first row of blue 
squares, work with the white, the rows round the 
meshes, as before, and one of long white stitches. 



Turn the work again, and work the next two 
rows of white stitches round the meshes. 

Repeat the same operation over every other 
line of blue squares. 

Now take the work cross-way, and work in 
white, as before, every space left; then cut the 
ends of the white wool. 

Make up the bag with a top of silk, line it, 
add cords and tassels, and it is complete. 

If preferred without silk, have canvass the full 
size for a carriage bag and work it all over. 



D'OYLEY IN SQUARE CROCHET. 

[Fig. 6.] 



Materials. — Cotton, No. 16 ; crochet hook, 
No. 18. Eagle card board guage. 

The size I have given for materials will make 
this d'oyley about 20 inches, as there are 88 
squares, and 9 squares are equal to 2 inches. 
Of course, with finer cottons and hooks, the size 
will be diminished. Patterns given in square 



crochet are very pretty worked in two colours 
of wool. The open squares should be worked in 
one colour, and the close in the other ; every 
square consisting of three dc. stitches. Mats of 
this description shonld be tacked on a stand pre- 
viously formed of stout card or mill-board, 
covered with green calico or silk. 



60 



DEEP POINT LACE. FOR A HANDKERCHIEF OR VEIL. 



DEEF POINT LACE, FOR A HANDKERCHIEF OR VEIL. 

[Fig. 8,] 



Visitors to the London Exhibition, will re- 
cognise this pattern as one of those in the gallery 
of that wondrous palace : I presume, therefore, it 
will be very acceptable to my fair readers. 

The pattern of the flowers is well adapted for 
the mandarin sleeves which everbody wears just 
now. To draw the pattern for that purpose, 
merely copy over and over again the two large 
flowers at the bottom of the page. Draw the 
pattern on colored paper, and use a fine sable 
brush, dipped in Indian ink for coloring the lines ; 
paste the paper on linen, and when dry it will be 
lit to be worked; A little more management is 
required when a pattern for a handkerchief is to 
be made. Cut a square of tissue paper, rather 
larger than the hand kerchief is to be, — double it 
twice, so as to mark the centre of each side, and 
trace the three divisions of the corner flower up 
to a on one side of this centre, leaving room for 



half of another division ; fold the paper and trace 
a similar piece of the flower on the other side of 
the centre, and finish also the division in the mid- 
dle. As it will be seen on referring to the plate, 
that there are three divisions and nearly half 
another up to the a, it will be evident that the 
centre flower will have seven divisions. On the 
right of this centre draw three of the flowers at 
the lower edge of the frontispiece, and at the cor- 
ner another flower, exactly like the centre one, 
but turned so as to form a corner. Trace the 
left hand side of the centre from that already 
done, and you will have a perfect side with two 
corners. Draw the pattern on colored paper, 
from this one side, and line it with linen before 
working it. 

You will observe that there are two straight 
lines of braid in the inner border; the one near- 
est to the flowers in only to be laid on when work- 



CROCHET EDGING. 



«7 



ing the lace, and connected with the other : no 
edging is to be put to it until after the hemmed 
cambric is laid underneath, when it is to be run 
on, and then edged with Brussels edging. 

a. — Sorrento edging. To be worked with 
Mecklenburgb thread, 120. 

b. — Venice edging. Boar's-head thread, No. 
50. 

c. — Brussels edge. Ditto. 

d. — Bars of Venice Point. Mecklenburgh 
thread, 120. 

e. — Kosettes worked on 4 threads : the cen- 



tre ones gradually increasing in size, towards 
the outer edge of the flower ; the others as 
small as the spots of English Point. Boar's-head 
thread No. 90. 

/ — Open English lace. Ditto. 

g. — Brussels lace. Ditto. 

h. — English lace. Boars-head thread, No. 
70. 

i. — Sorrento bars. Mecklenburgh thread, No. 
120. 

j. — Eosettes. Thread No. 70. 

k. — Bars in Alencon point. Ditto. 

J 



CROCHET EDGING 



Materials. — Cctton, No. 30. Crochet hook, 
No. 20. 

Make a chain of the required length, and work 
on it one row of dc. 

2nd. — X 1 dc, 2 ch., miss 2 X ; repeat. 



3rd.— Dc. 

4th. — X 1 1 tc, 6 ch. miss 6 X ; repeat. 

5th. — X 9 tc. (beginning on the 2nd of last 
row) ; 5 ch., 1 tc. under 6 ch. ; 5 ch. X ; re- 
peat. 



68 



CROCHET EDGING, 



6th. — X 7 tc, commencing on 2nd, 6 ch., 1 tc. 6 ch., tc. in loop * to the next tc. stitches, -j-j 

in first loop, 6 ch., 1 tc. in 2nd, 6 ch. X ; re- repeat, 

peat. 8th. — -f- tc. on 2nd of 3 of last row, * 6 ch., tc 

7th. — -f- 3 tc. commencing on 3rd of last row,* in loop * to next tc. -j- ; repeat. 



CROCHET EDGING 



Materials. — Cotton, No. 40, crochet hook, 
No. 22, eagle card-board guage. 

This edging will be found very pretty for 
children's dresses and similar articles. 

Make a chain of the length required. 

1st. row. — 1 dc 1 ch., miss 1 ; repeat. 

2nd. — X 1 dc, under a loop, 6 ch., miss 1 
loop, dc under 2nd., 6 ch., miss 1 X; repeat. 

3rd. — X 7 dc under 1 loop ; 3 ch., 2 dc under 
next loop, 3 ch. X; repeat. 

4th. — X6 dc over 7, 4 ch. j 2 dc. over 2, 4 ch. 
X; repeat. 



5th. — X 4 dc. over 6, 4 ch. ; 3 sc over 2, 4 ch. 
X ; repeat. 

6th. — X 3 dc over 4, 4 ch. ; 1 dc. before 3 sc, 
5 ch. ; 1 dc. after sc, 4 ch. X ; repeat. 

7th. — X 2 dc over 3, 5 ch. ; 6 dc. under the 
5 ch., 5 ch., X ; repeat. 

8th. — X 1 dc. between 2 dc, 5 ch., 1 dc. after 
first of 6 dc, 3 ch; dc after 2nd-, 3 ch. dc. after 
3rd, 3 ch. dc after 4th, 3 ch. dc after 5th, 5 
ch. X ; repeat. 



CROCHET INSERTION. 



09 



CROCHET INSERTION. 



Materials. — Cotton, No. 30 or 34. 

Very suitable for shirt fronts and similar 
articles. 

Make a chain of the required length and work 
one row of dc. 

2nd. — 1 tc. 1 ch., miss 1 ; repeat. 

3rd. — Dc. throughout. 

4th. — A row of eyelet holes, thus — 8 ch., close 
in a round in the second ch. ; work 3 dc. in the 
round thus made, drop the loop on the needle, 
insert the needle in both sides of 5th dc. of last 
row, counting from the top of the row, pick up 
the dropped loop, finish a stitch of dc, work three 



more crochet in ch. in the round ; repeat rrom 
the beginning of the row, joining in every fifth 
stitch. 

5th. — (The second side of the eyelet-holes) — 7 
dc. in each eyelet hole, 1 ch. between every 2. 

6th. — 4 ch., dc. in 4th on the 2nd side of the 
first eyelet-hole ; repeat. 

7th. — dc. 

8th. — 1 tc, 1 ch. miss 1 ; repeat. 

9th.— dc. 

This insertion is remarkably strong, and very 
pretty, made of silk, for trimming dresses, >kc. 



70 



ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 



ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 



UNDOUBTEDLY the most artistic style of 
needlework is that termed Embroidery ; not 
the canvas embroidery of which I treated in 
Part II. of this work but the yet higher kind 
of needlework-painting, which aims at producing 
really pictorial effect, without the mechanical 
assistance which canvass gives in counting stitches 
and determining shades. 

In embroidery much is left to the eye, and 
stiil more to the taste. A few words, therefore, 
on. the subject of selecting colors and harmo- 
nizing tints, as well as on the mere stitches 
employed, will probably be acceptable. 

TO MARK PATTERNS. 

Designs are invariably marked on satin, cloth, 
or velvet, by means of 'what are termed pounced 



patterns. These are prepared in the following 
manner : — The design is carefully traced on 
rather thick writing paper ; then, with a fine 
stiletto it is marked in holes, distant from each 
other not more than the eighth of an inch : from 
the pattern thus prepared, any number almost 
may be marked. The material to be embroidered 
is then laid on the table, and the pattern placed 
in the proper position over it, and kept there by 
means of leaden weights. A little pounce, or 
powdered flake white must then be rubbed over 
the paper, with a large and flat stump, and, on 
the paper being raised, the design appears accu- 
rately marked on the cloth. It requires to be 
afterwards re-marked with a fine sable brush, 
dipped in a mixture of flake white and milk, or 
an artist's color, contrasting with the material, 



ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 



71 



mixed up with a few drops of spirits of tur- 
pentine. 

White satin, or any very light color on which 
white would not show may be pounced with very 
finely powdered charcoal, and then marked with 
a solution of Indian ink. 

For drawing a pattern on any washing mate- 
rial a still simpler plan may be adopted. Scrape 
some red or blue chalk ; brush it lightly over a 
sheet of thin tissue paper, shake off the loose 
grains, lay the chalked side of the paper on the 
muslin, and over it the pattern, which you will 
trace with a hard sharp pointed pencil, and the 
design will be clearly marked, and require no 
further trouble. 

When any parts of a pattern are repeated — 
as the quarters of a cushion or a handkerchief, 
or the scallops of a flounce — have only the 
pounced pattern of one quarter or section, and 
mark all from that one. It will be found a 
much more accurate mode than that of making 
the whole paper pattern perfect. 

The next step is to put the material in a frame, 
two or three inches wider than the work it is 



to receive. I must refer to my Instructions in 
Berlin Canvas Work, Part II. of this book 
for the directions for this very important part of 
the process. The needles used are technically 
called short-long- eyes and strands. The latter 
are like common needles, but unusuallv long, 
It injures the work to use too fine a needle. 
as the small eye frays the silk ; on the other hand 
a needle that is too large makes holes in the cloth. 

The materials chiefly used for embroidery are 
wools, chenille, and silks : there are great varieties 
of the last-mentioned article, the principal being 
Mitorse, Dacca, Berlin, fiue and coarse flas, 
crochet, and netting silks. Of the netting silks 
there are many sizes, which may be used accord- 
ing to the delicacy of the work. 

Initials intended to be in gold, for sachets, 
&c, are almost as effective if rich gold-colored 
twisted silk be used instead ; and the silk wili 
wear for ever, whilst it is almost impossible to 
obtain gold thread which \\ ill not tarnish in a 
few months. 

STITCH RS. 

The common stitch used in embroidery ra 



72 



ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 



termed long-stitch. It closely resembles the Irish 
stitch of canvass work,* only without its regu- 
larity. The stitches are taken closely together 
and of uneven lengths ; the second shade is 
blended with the first by filling up the vacant 
spaces of the short stitch ; the nest shade, in the 
same way, unites with that one, and so on in an 
irregular form, the outline only presenting, 
a regular line of stitches, exactly within the 
limits of the marked pattern. The shading 
must, of course, be done with artistic accuracy. 

The veinings of leaves are worked in silk 
rather coarser than that used for the rest of the 
work. Sometimes this silk is considerably 
thicker ; it is then laid on, and sewed over with 
very fine silk of the same shade, the ends being 
drawn through the material. Leaves are fre- 
quently veined with gold thread in a similar man- 
ner. 

Large leaves should be worked from the j wnts 
to the veins ; small ones seldom require to be 
veined at all. Like stems they are formed of a 

• See Tart IL 



succession of slanting stitches very evenly laid 
on, forming curves and lines of the width and 
dimensions of the patterns, and forming accurate 
outlines. 

"When gold bullion is employed in embroidery, 
it is cut into short lengths, which are then laid 
on with fine silk of the same hue. Gold thread 
is sewed over, and the ends brought through the 
cloth and so passed from one part to another. 

The Chinese emplo} r , in their most elaborate 
embroidery, a very pretty stitch termed, by us, 
the French Knot. It is made thus : — Bring the 
needleful of silk to the right side of the work, in 
the exact spot where the stitch is to be. Hold 
the needle in the right hand, and with the left 
take up the silk, at an inch or two from the 
cloth. Twist the needle twice round the silk, 
insert it in the same spot you drew it through 
before, and, with the right hand, draw the needle 
to the under side, gradually tightening the silk 
with the left hand. When quite drawn through 
the knot is formed. The great art in this work 
is to make the stitches all lie perfectly even. 
We seldom use the French Knot for anything 



ELEMENTARY INSTRUCTIONS IN EMBROIDERY 



73 



but the seeds, stamen, or pistils of flowers ; but 
the Chinese execute whole pieces in this stitch, 
shading them most exquisitely, and only using a 
coarse white silk or gold thread as an outline to 
the whole. In bead embroidery, every stitch is 
generally put on separately, and in its own place; 
but a very beautiful effect may be obtained in 
pearl beads imitating grapes, by stringing them 
with white silk, and letting them cross each other in 
various directions, still preserving the outline of 
the cluster. 

A very pretty and effective style of embroidery 
is that done with gold braid and wool on 
canvass. It is very suitable for slippers, 
cushions, the bands of smoking caps, blotting 
cases, and many other things. An outline design 
in arabesque, or anything else that may appear 
suitable for two colors, should be drawn on 
paper of the proper dimensions and then marked 
on the canvass. The gold braid must be cut into 
pieces of the proper lengths, and laid on piece by 
piece, the spaces between the pattern being filled 
with wool of some well-contrasting color — as 
bright blue, green, or claret — so that the pattern 



appears in gold on a ground of wool. "When 
leaves are so worked, a rich silk, of a deeper gold 
colour than the braid, should be used afterwards 
to vein it. 

Having spoken of cushions, it may be well to 
tell my fair readers how to make them up most 
comfortably : — Cut some good strong calico bias 
of the proper size; line it with two or three 
thicknesses of good wadding, well fastened to it 
in every direction ; and stuff the base thus made 
with down; the pillow to be afterwards covered 
in any manner that may be desire i. Pi I 
made in this way are not only much softer than 
others, but they also keep their shape much I 
ter, and are not liable to sink after a little wear. 

Waistcoats and other articles are now much 
embroidered in sole ombre, that is. - ; 
in varieties of one colour. I cannot say It':, 
it so pretty as the variety of natural colors, or 
even a single self-shade." It is however, 
ionable. 

The Choice of Colof.s. — I will con. 
my instructions for embroidery with a tew hints 
on the choice of suitable colors ; as Dogberry 



ELEMENTARY INSTRUCTIONS IN EMBROIDERY. 



observes, that <: reading and writing come by 
nature," so I may be excused for asserting that 
the axiom is (in part, at least) correct, as re- 
gards the power of discriminating colors. In a 
»reat measure it is a natural gift; still it may- 
be cultivated, nay almost created. 

Selecting the necessary wools, silks, &c. is 
technically called, sorting a pattern. To a sort a 
pattern well, it is requisite to consider the capa- 
bilities of the various materials. Wools and 
silks, silks in flox, and twisted, — though dipped in 
the same vat, would be found to vary materially 
m the shade of color when dved. Hence it is 
important to select such materials as will blend 
well together, and also wear well when worked. 

The following colors may be said to harmo- 
nize perfectly : — 

Blue works well with the warmer tints of 
drab, stone, and fawn. 

Yellow with the richest and darkest shades of 
drab. 

Pink with soft stone, fawn, and grey. 

Lilac with the cold green tints of the same 
colors. 



Lilac with some greens. 

Maize and salmon with green. 

Scarlet with a slate tint. 

Blue with rich dark claret brown. 

Maize with blue. 

White with oilve green. 

Green and blue do not harmonize, whatever 
the votaries of the present fashion my declare 
to the contrary. Even green leaves do not look 
well in the vicinity of blue flowers, unless they 
partake of the rich autumn tints of olive, yellow, 
and brown. Then the primitive colors, scarlet 
and yellow, kill each other; they give color, but 
not coloring; and yellow and green, scarlet 
and brown, or scarlet and lilac, are all equally 
injurious. 

It must be remembered that strong contrasts 
do not of themselves produce beauty ; it is 
rather the delicate adjustment of the various 
shades. There are numberless varieties of every 
leading color — greens, whites, and reds especi- 
ally. The following list may be serviceable : — 

White Flowers. — These may be shaded in 
any of the following colors: green, pure white, 



ELEMENTARY INSTRUCTIONS LN EMBROIDERY. 



"' 



grey or slate. The choice depends on the color 
to be worked, the Fleur de lis requiring, for in- 
stance, to be shaded into green. In all the 
shades, however, the greatest softness it impera- 
tive. All sudden contrasts must be avoided.. 

Damask roses are worked in at least six 
shades; from black to a pure rose pink; the 
gradations include deep claret, lighter ditto, 
scarlet, and a medium shade between the last. 

Ordinary roses are shaded from deep scarlet 
to bright ponceau, and various shades of pink. 

The shades of green, for leaves, are quite in- 
numerable. 

It is never in good taste to have a group of 
flowers on a liyht ground without some one in 



the group to correspond with it. N t Q at it 
should be a prominent object, but that it softens 
the whole. 

Finally, I may be permitted to observe that, 
as " good wine needs no bush," so good needle- 
work requires not very gaudy or striking mi 
ings- A well designed portfeuille or cushion 
does not look at all better for being so extrava- 
gantly finished off. that the eye rests on the 
fittings rather than the work. Let cords, 1 -- - 
linings &c, be as good as possible ; let them . 
be as plain as possible. These are but the firai 
the work is the picture ; and the valuable . 
should be also the most attractive. 




HONITON CROCHET COLLAR. 



HONITON CROCHET COLLAR. 



[Fig. J.] 



This crochet collar, in imitation of Honiton 
lace, is composed of sprigs and edging in crochet 
sewed on Italian or Brussels net. It is a very 
simple style of collar, and may be made very 
rapidly. 

Materials — Cotton, No. 70. Crochet hook, 
No. 24, eagle card-board gauge. 

TnE Edging 16 ch. close in the 6 for a 

loop, in which work -f- 5 ch., miss 1, sc. in 2nd -f- 
4 times ; 5 ch., sc. on the close of the loop. 
Turn the work on the wrong side, and do under 
every chain of five 2 sc, 5 dc; 2 sc. ; repeat from 
the 16 chain as often as may be required for 
the length. 

For the Sprig. — Make a chain of 10, form it 
into a loop, in whicn work * 5 ch. ; miss 1, sc. in 
2nd * 5 times, joining into the close of the 
loop at the last ; turn on the wrong side, and 
this forms the flower. 12 ch. for stem; miss I, 



7 dc, turn the work -+- 6ch., miss 1, sc. on 2nd 
dc. stitch, -j- all round this centre of the leaf; 
work all these loops in sc. ; 9 ch., miss i, 7 dc. 
for centre of another leaf; work as before ; 6 ch. 
work sc. all along the stem, and fasten off. 

Open-hem. — Make a chain of the required 
length, and in it work -\- 2 ch., miss l, l dc. -f- ; 
repeat to the end. 

To make up crochet Honiton lace for collars, 
or any other purpose : — Cut out a pattern of the 
article required in coloured paper, slightly larger 
than is requisite ; then a similar one^ in Italian 
or Brussels net. A very narrow roll or hem must 
be made round this net, and it must then be 
tacked on the paper. Then arrange on it the 
crochet work, beginning with the edo-'mo- and 
sprigs, and tack them lightly in their places. Run 
them round with very fine cotton ; put the opeu- 
work in every loop 1 so, 1 dc, 3 to, 1 do, 1 se 



KNITTED BASKET. 



hem round the neck, fasten it on ; and, round 
the outer edge, lay some of the very best pearl 
edging. 

The collar given in the engraving is formed 



in scallops, in each of which one sprig - 
In future, when giving receipts for Honitoa 
lace, I shall refer to this number of our book 
for the mode of making up, &c. 



KNITTED BASKET. 

[Fig. 2 ] 



Materials. — Six shades of ,4-thread Berlin 
wool, in scarlet or any other colour, and 4 bone 
pins No. 8. 

With the lightest shade of wool cast on 13 
stitches. 

1st Eow. — Slip 1, knit 1, , Xmake 1, knit 2 
together, X 3 times, f make 2, knit 2 together, 
f twice, knit 1. 

2nd.— Knit 3, purl 1, knit 2, purl 1, knit 1, 
X, make 1, knit 2 together, X 3 times, knit 1. 

3rd. — Slip 1. knit 1, X, make 1, knit 2 toge- 
ther, X 3 times, knit 2, make 2, knit 2 together, 
make 2, knit 2 together, knit 1- 



4th.— Knit 3, purl 1, knit 2, purl 1, knit 3, 
X, make 1, knit 2 together, X 3 times, knit 1. 

5th. — Slip 1, knit 1, X, make 1, knit -2 toge- 
ther, X 3 times, knit 4, f, make 2, knit 2 toge- 
ther, f twice, knit 1. 

6th. — Knit, 3, purl 1, knit 2, purl 1, knit 5, 
X, make 1, knit 2 together, X 3 times, knit 1. 

7th. — Slip 1, knit" 1. X, make 1, knit 2 to- 
gether, X 3 times, knit 6, f, make 2, knit 2 to- 
gether, f twice, knit 1- 

8th.— Cast off 8, knit 5. X, make 1, knit 2 
together, X 3 times, knit 1. 

This completes one pattern ; join on the next 



75 



INITIAL LETTERS IN EMBROIDERY. 



shade of wool for another, and so on, changing 
the shade with every repetition of the pattern. 
The seventh pattern will be done again with the 
lightest shade; and 12 patterns will be found 
sufficient for the edging. 

Sew the sides up, and on each of the three 
needles take up 33 stitches, from the straight side 
of the edging; knit 2 rounds plain, then knit 1, 
knit 2 together, knit to within 3 of the end of 
the needle, knit 2 together, knit 1 ; repeat this 



on the other two needles; knit one plain round 
and one decreasing one alternately, until only 4 
stitches are left on each needle. Draw up the 
opening, and fasten the wool with a coarse em- 
broidery needle. Make a handle of 3 or 4 pieces 
of fine wire covered with wool or ribbon ; and 
put a round, similarly covered, at the top and 
bottom of the three rows of open hem to keep the 
basket in shape. 



INITIAL LETTERS IN EMBROIDERY. 

[Fig. 3.] 



The C and E here represented are given in a 
style more suitable for marking household linen 
and large articles than for embroidering delicate 
handkerchiefs. 

Materials. — Ingrain Turkey red, and white 
embroidery cotton, No. 70 for linen, and 80 for 
cambric. 

The letters are to be worked in raised satin 



stitch, with white cotton, and the w r hole surroun- 
ded by a single thread of red, sewed closely over; 
this throws the letters into strong relief, and has 
a very chaste and beautiful eftect. 

In future numbers we shall give other and 
more decorative styles of letters, for handker- 
chiefs, &c. 



SHAMROCK-LEAF D'OYLEY. 



79 



SHAMROCK-LEAF D'OYLEY. 

[Fig. 4.] 



MATEPaALS. — Cotton No. 16. Crochet book, 
No. 17. Eagle card-board guage. 8 ch., close 
for a round. 

1st— 16 dc. 

2nd. — X 7 ch., miss 1, sc. on 2nd, X 8 times. 

3rd. — X 6 ch., sc, on the centre of 7 ch., X: 
repeat all round. 

4th. — Dc. all round, increasing 1 in every other 
stitch. 

5th. — 7 ch., miss 2, dc. into 3rd ; turn the 
work, 5 ch., miss 2, dc. into 3rd, X 5 times, turn 
the work, and repeat from the beginning of the 
row. 

6th. — X sc. on the point of a scallop ; 6 ch., 
sc. on centre of next scallop, 9 ch., X; repeat. 

7th. — 7 tc. on 6 ch., 13 eh., X 7 tc. on next 6 
eh., 13 ch., X all round. 

8th. — X sc on centie of 13 ch., 26 ch., X 
sc. on centre of next 13, 26 ch., X; repeat all 
round. 



9th. — Dc. all round, increasing even- other 
stitch. 

10th. — 7 ch., sc into the same stitch, turn the 
work, 2 dc, 7 tc, 2 dc, in loop of 7, turn again, 
miss 8 ; repeat. 

11th. — Commence with sc on the point of the 
leaf, make 7 ch., sc on the point of the next leaf, 
and so on all round. 

12th. — X sc. on centre of 7 ch., 9 ch., X , re- 
peat. 

13. — X sc on centre of 9 ch., 7 ch., ; X re- 
peat. 

14th. — Sc. on centre of the chain of 7, S ch., 
slip stitch into the same, 12 ch., slip into the 
same, 8 ch., slip into the same ; turn the work ; 
work under the 8 ch., 1 sc. 2 dc, 6 tc. 2 dc-. 1 
sc. ; the loop of 12 work in the siime way with 
12 tc, the loop of 8, with 6 tc ; fasien off; 
miss 2 chains of 7, sc on 3rd., 10 ch., miss 5, 
dc on the 6th., 1 ch., miss 1., sc. on 2nd , 1 



r::"^j:-z, 



ch~ bsbI e t> on first of 10. work all round 
m '- - rz.r.: ±e frs: :.:: ...-: srl:. ..r« :r, s:-. : 

-- - i:?5 i - : ~ _:._ :r v .: :: ::_ 

: - r x; _ : :le r: i : 

15th. — X so. on the point of the single leaf, 
15 ch.. se. on point of the shamrock. 15 ch. X ; 
repeat. 

16th- — De. all round, increasing in every other 

17th. — X sc. in one stitch, 7 ch., miss 2, — ; 
repeat. 



.— X Be. 



in :ri::r of 7 :i . 9 eh, X ; 

in Benfcre of S en.. 9 ch. X ; 

ler 9 e '- . ■ : : : izder the same, 
' the next 9 ch, X ; nep^: 
r crochet, work, this pattern may 
ased by the use of coarser mate- 
with Evanses boars-head cotton, 
•ok proportionably large, it .. 
make a very pretty couvrette for a musie-stooL 



19flu_ X 

rr i: 






**++ *■+*" 



PUTATOEI 



ifore or House is made of very fine 
hoUand. trimmed with worsted braid. There are 
two ways of making it ; the first is that given in 
the ez. the second, which has much the 

same effect, was brought into this country 
Busian family of tfc- It* - made 

of the richest crims with gold braid and 



Tz~ Fmsi Pattekm — l- r -:s:ve the length 
from the child's knee to the top of the shouJ ier ; 
and cut out in holland. a perfect round, exactly 
double the width of the length you have t 
and two nails over, thus — if it be halfa-yard from 
the child's knee to the shoulder, the circle must 
be one yard and two l: la Id the exact 

centre of tide eat - . .it. large enough for 






the neefc, and on each Bide of i! " :: " 

inches.) az. rtbex hole : . the arm. A (fit 

from toe ieck :ir s:r.:ai: ~ --ay :•: :.-r -: -~ 

are then put in the small holes, and two fines of 
wonted braid go down them from the centre of 

:: : :::; jl :.V_. ;-.de : :;: _i_- ±. s — - z 

with braid, the neck and slit are hemmed, and 
trimmed in the same way. and buttons and loops 

c d I- i : : : : l ~.z. r slit. A :::_. zz... ': : . . i 
is made all round the outer edgi: :: '.zi circle, 

ar.1 :r:ia:_c:; ..£r ~.z- z-~- 7__r l.:::t .- ::r: 
complete, being merely confined with a broad 

ji.r a: :xe V . - 

pattera :s still :r,:re s v ; i_:.ir 

i e - :>e :..i -ate: - A5 it ": ili 

ce ":es: ; e it Jr-ati taerit; I".. _.--.. :e 

it in that material — two jraras :e ~ re 

tcui ej:':;: ua.es5 :ir ____ :s .::;....-" ~. .. . 
Cu: :z ;. vara -:: :1:t-../._ ; : ; - ---. 



them " 



re of the width about 
aps twelTe : and make a sfit of 
r ri :::."- ie .;. tl.e - :■:- 
1 .: : . - - 

e a hem, which trim with braid, 
plait up die fcl- 

::' :_ - -\-_a 

1 1 r : : ! : a 
€ the nee 

:: __ .: .. «■ ~ :ta 



- 
-i :z 



- 



KS EMBROIDERY. 

NECK TIE. 

[Fig. 6.] 

Materials. Two shades of croehet purse Continue these 2 rows until about a yard and a 

twist, any color that may be desired. Croehet quarter is done, when work a row thus : — sc. on 

hook. No. 16. Eagle card-board guage. Make centre of 6 ch., 3 ch., sc. in centre of nextj finish 

a chain of the required length ; work one row of so. with a row of sc. 

2nd. Sc. on 1st, 6 ch, miss 3, sc. on 4th: repeat. A ring, covered with silk, and two silk tassels, 

3rd.— Turn the work, 6 ch., sc. under hrst loop, complete the neck-tie. 
6 ch., sc. under next ; repeat. 



^VsA/-/ ///Av-* 



EMBROIDERY. 

[Fig. 7.] 

suitable for the half of a handkerchief corner, or any other purpose. 

■ For a handkerchief I should recommend the ementary Instructions," in this number. The 
fashionable mixture of scarlet and white embroi- libres and tendrils are run, and sewed over with 
dery cotton. No. bO. The large leaves may be the greatest nicety. The broad veinings of the 
worked merely in outline, being buttonhole stitoh- upper and lower leaf would be improved by he- 
ed in one color, whilst the veinings are done in ing very delicately worked in small eyelet holes, 
another. The specks on the larga leaf are small made with a coarse needle rather than a stiletto. 
French knots, wnicb 1 have described in the " El- 



DEEP LACE IN CROCHET. 



M 



SQUARE D'OYLEY IN CROCHET. 

[Fig. 8 ] 

The materials suitable for Table D'oyleys will crochet edging, which will be found at the end of 

be Cotton, No. 24 or 30, and crochet hook, No. this book. To increase or diminish the - 

20. The D'oyley is to be worked from the En- D'oyleys, use cotton proportionably courier <t 

graving, and afterwards finished witn a narrow finer. 



DEEP LACE IN CROCHET. 

[Fig. 9.] 



Materials. — Cotton, No. 40. Crochet hook, 
No. 22. 

Make a chain the requisite length. 
st. — -f- 7 ch., miss 5, so. on 6th -f-. Repeat. 

2nd. — Sc. on centre of 7 ch., 7 ch. Repeat. 

3rd to 7th rows. Like the 2nd. 

They may all be worked backwards and forwards. 

8th — -f- so. on centre of 7 ch., 5 ch., -f-. Repeat. 

9th. — X sc on centre of 5, X 3 ch, miss 2 r sc 
on 3rd ch., miss 1, sc. on 2nd, X. Repeat. 

10th. — Sc. on the beginning of the ch., (a.) -\~o 
ch., miss 2, sc. on 3rd, -f- twice, G ch., slip on 
same stitch, 6 ch., slip on same stitch, (a.) Repeat. 



llth. — Sc. on centre of G ch., G ch., sc in cen- 
tre of next 6 ch., 5 oh., sc. on centre of 3 ch., 5 
ch. 7 sc. on centre of next 3 ch. Repeat. 

12th. — X 3 to. under 6 ch., 3 tc under next 6 
ch., 12 ch., -f-. Repeat. 

13th — -f" 6 dc, on 6 tc, * 3 ch., sc. in 3rd ch., 
* 4 times, X. Then repeat from the beginning. 

14th — X G dc. in 6 of last row, * 5 ch., sc. under 
3 ch., * 5 times, X. Then repeat from the I _ 
ning. 

15th. — X, 6 dc. into the last G, * G ch. sc un- 
der 5 oh. of last row, * 4 times, -f-. Repeat to the 
end, and fasten off. 



M 



ANOTHER COLLAR IN FRIVOLITE. 



COLLAR IN TATTING OR FRIVOLITE 

[Fig. 10] 



Materials. — Cotton, No. 3 ; Italian net. 

I may observe, en passant, that this cotton is the 
only one which has been manufactured expressly 
for Tatting, and is really suited for that work. 

Work the ovals and loops as seen in the En- 
graving, leaving threads wherever they appear 
to be required ; draw the pattern on colored 
paper, from the engraving ; lay the net on, and 
tack the various parts of them in their places, 



according to the design ; sew over the threads, 
centres, &o», with the same cotton, and cut out 
the net ; till in the centre of each flower with a 
rosette of English Point (see Part III.), work- 
ed in Evans's Meckleuburgh, 100; the other 
open parts might also every effectively be filled 
in like manner. A muslin band must be sewed 
round the neck. 



ANOTHER COLLAR IN FRIVOLITE. 
[Fig. 11.] 



Materials. — Tatting cotton, No. 3. Make 13 
large trefoils without the pearl edge, and 14 
smaller ones, leaving the length of thread shown 
in the engraving between every two 



Make also 75 ovals with pearl edge, and two 
larger ones for the corners. 

Make up the collar like the last, sewing over 
all the threads closely in a button-hole stitch,. 



CaAjLb 



~~'*-* ' 



CROCHET INSERTION. 



M 



CROCHET INSERTION. 



WORKED THE SHORT WAY. 



Materials. — Cotton, No. 60, for children's 
dresses, &c, 

1st — 26 ch., miss 7, dc. on 8th., X 2 ch., miss 
2, dc. on 3rd., X to the end.* 

2nd. — Slip up the side of the last dc, stitch 5 
ch., dc. over dc, X 2 ch., miss 2, dc. over dc. to 
the end. 

3rd. — Slip up the side- 5 ch., dc. over dc, X 2 
ch., misss 2, 1 dc, X 3 times, 3 dc, * 2 ch., miss 
2, 1 dc, * to the end. 

4th. — Slip as before, 5 ch., dc. over dc, 2 ch., 
miss 2, 1 dc, 2 ch., miss 2, 7 dc, X 2 ch., miss 
2, 1 dc, X twice. 

5th. — Slip as before 5 ch., dc. over dc, 2 ch., 
miss 2, 1 dc, 2 ch., miss 2, 4 dc, -+- 2 ch., miss 2, 
1 dc. -f- 3 times. 



6th. — Slip as before, 5 ch., miss 2, dc. on dc, 
-\- 2 ch., miss 2, 4 dc, -j- twice, * 2 ch., mi— . 
dc. * twice. 

7th. — Slip as before, 5 ch., miss 2, 7 dc, 2 ch., 
miss 2, 7 dc, 2 ch. miss 2, 1 do. 

3th. — Slip as before, 5 ch., 1 dc on last of 7 
X 2 ch., miss 2, 1 dc, 2 ch., miss 2/4 dc X 2ch., 
miss 2, 1 dc, to the end. 

9th.— Like 7th. 

10th.— Like 6th. 

This completes the pattern. 

This insertion is of so delicate a texture that to 
appreciate it, it ought to be seen, lined with 
ribbon : done in courier materials, it would be 
found equally pretty and useful for many articles 
of the lady's toilette. 



Turn the work at the end of every row. 



fc(i 



KNITTING INSTRUCTIONS. 



KNITTING INSTRUCTIONS. 




Whatever other arts may become popular 
among ladies, that of Knitting will ever he held 
in high estimation, not merely from the elegance 
of the articles produced by an accomplished 



knitter, but from the great facility it offers for the 
employment of the invalid, the aged, and the. 
blind. The dexterity the last named acquire, is 
too well known to need comment, nor would 1 



KNITTING INSTRUCTIONS. 



8/ 



remark on it but for the sake of convincing 
those who possess the blessing of sight, that 
there is no good reason for a piece of simple 
knitting so absorbing eyes, ears, and thoughts, 
as to render them the mere knitting machines 
they usually are. To see young ladies stooping, 
with rounded shoulders and contracted chest, 
over a simple piece of knitting, no one would im- 
agine that they were exercising an art in 
which the blind are the greatest adepts. The 
fact is, that the blind exercise their sense of 
touch as well as their memory, until the most, 
elaborate pattern is produced in a manner 
perfectly mechanical; why then should we not 
be able, in the same manner, to use our fingers, 
whilst our thoughts, tongues, and eyes, are at 
liberty for the enjoyment of more intellectual 
pleasures ? A few hints will very soon enable 
knitters to pursue their favorite occupation 
whilst reading, studying, or conversing ; and 
although it may appear a matter of little or no 
consequence to be able to knit by touch, none 
of us can tell how soon sickness or weak sight 
may compel us to abandon all employment which 
requires strong light or exertion of thought. 



The sense of touch appears to be most acute 
at the extreme points of the fingers; and it is 
desirable so to hold our work as to avail our- 
selves of this power. The needles are to be I 
in the following manner : — 

The work being held in the left hand, the 
needle must be held closely pressed between the 
palm and the third and fourth fingers, whilst 
the foremost stitches are kept near the point 
by the thumb and second linger; the first 
is thus left free to assist in knitting, slip- 
ping the stitches forward, shortening the point 
of the needle, &c. The usual mode of knittintr, 
is to hold the stitch between the thumb and the 
first finger; and those who have been ace is- 
tomed to this method, and will try mine, will be 
astonished at the rapidity with wnioh the delicate 
point of the fore finger distinguishes between 
one kind of stitch and another ; the other needie 
is held between the thumb and first finger of the 
right hand, and rests on the hand. The thread 
is passed loosely round the little finger, under the 
second and third, and over the tip of the first, 
which is quite close to the needle. The thumb 
should be quite quiet — the jerking motion, so ob- 



88 






KNITTING INSTRUCTIONS. 



servable in some knitters, being both inelegant 
and detrimental to the work. 

Knitting needles should have no sharp points. 
The needles should gradually taper to a rounded, 
smooth end, halt" an inch, at least, being thus 
gradually diminished. I have, as yet, only found 
one make of this description ; but in no manu- 
factured article is there a greater difference than 
between good and bad knitting needles. 

Some patterns have a much better effect woven 
than knitted, principally from the superior method 
of diminishing; of that, and the best mode of 
casting on, I have given diagrams. 

Fig. 1. — This gives the first process in casting 
on with two needles, (by far the best method.) 
]\Iake a loop with your finger and thumb, slip 
the needle in, and with the thread (a) knit in the 
ordinary way. This forms the first loop. You 
will now hold the needle in the left-hand ; take 
another in the right, and slip it into the last 
loop. With the point of the fingei, carry the 
thread between the two needles, and bring the 
point of the right hand needle in front, (tig. 2,) 
when the stitch is completed. It must then be 



slipped on to the left-hand needle, and the process 
repeated. 

Fig. 3. — Purling, (or pearling,) is generally 
known. The right-hand needle is inserted in 
front of the stitch, the thread passed round it, 
and then the point pushed backwards, and drawn 
out behind. 

Fig. 4. — Represents the woven method of 
knitting three together, which should always be 
employed where the centre stitch is intended for 
the uppermost one. The usual mode is this : — 
slip 1, knit 2 together, pass the slip stitch over 
the knitted. The best way is to slip two together 
off the needle, knit the third, and slip the two 
over. The centre of the three stitches will then 
be the front one. If a stitch is to be made be- 
fore and after, you will merely bring the thread 
in front on each occasion. 

Figs. 5 and 6. — Show the manner of purling 
three together in the back rows, to correspond 
with the knitted ones. We will suppose an open 
hem to be on each side, as seen in fig. 7. Put 
the thread round the needle, immediately before 
the loose stitch c\ then insert the point of the 



















BoKofflSBSSySl^l?^ 
















SjySffiffiif 


i' ) r i'r 






















S^C^^g 


^$ 


















m 


IpsBSoi 






ij|f^f'DICK& FITZGERALD. NEW-YORKfc 



mm 




SB 





INFANT'S CAP CROWN. 



b'J 



right-hr.nd needle in b c, taking both off the 
left-hand. Purl a and slip the others over 
them. 

In working from knitting receipts it is neces- 
sary to remember that no two people knit alike, 
and therefore, the needles which suit one person 
admirably, will be too large, or tot) small for 
another. I give the sizes which suit an ordinary 
worker ; but those who are conscious of being 



very light, or very loose knitter- 
use needles one or two - i >».-r or finer. 

I trust that the above observations 
able every reader to understand j 
receipts for various choice and beautiful patterns 
in knitting, which I shall introduce, from time 
to time, in our pages. I therefore ;. 
at once, to the articles represented in trie E..- 
ffravinar. 



"///^ ///^/™- 



u 



INFANT'S CAP CROWN 

TFig. J.] 



Materials. — Cotton Nos. 70 and 90. Crochet 
hook, No 22, eagle cardboard guage, and a line 
sewing needle. 

This cap crown is formed by a very pretty 
admixture of crochet with point lace stitches. 

The sprig, which forms the centre as well as 
the border, is made in crochet, in a Houiton lace 
pattern. The mode of engraving, with figures to 
indicate the number of stitches in every part, is 
one invented by myself, already familiar to many 



of our readers, to whom it has been found ex- 
tremely useful. 

Work the crochet with Xo. 70 cotton. Begin 
the sprig at the end of the stem (a,) work up the 
two-leaved side, then the flower, and down the 
other side of the stem, beginning where you. leit 
off: 10 ch. for the stem. 

Leaf, 30 ch., join in the first to form a loop ; 
work the first and last stitches in se. and ail 
the rest in dc, three stitches being made in 



90 



INFANT'S CAP CROWN. 



the centre o.iain ; slip 1 at the joining of the loop; 
16 ch. for stem; repeat the leaf with 20 ch. in- 
stead of 30; 10 ch. for stem. 

Flower — This is worked round and round, 
the right side being always uppermost, and the 
thread being passed under the stem at every 
round. The inner circle is made first; 18 ch., 
join into a loop, and work all round in sc. X 5 
ch., 1 dc through every 3rd of last round, X 5 
times, 5 ch.. slip 1 at the stem. Work round 
these in sc. * 13 ch., 1 sc through dc. of last 
round * 5 times 13 ch., slip 1 on the stem. Sc. 
all round, working on the chain stitches only. 
Make u slip stitch at the stem to close the flower 
well ; sc. on the 10 ch ; then make a leaf of 20 
ch. opposite to the last ; 8 sc. on chain. 

Bud. — 22 oil., 1 dc. on the 18th, X 2 ch., miss 
2, 1 dc, X twice, 2 ch., miss 2, slip 1. This forms 
the open part of the bad. Work round it, 1 sc, 1 
dc, 5 tc, 2 dc, 1 sc, 4 ch., 3 sc. on 4, 2 slip, 4 
ch., 3 sc on 4, 1 sc, 2 dc, 5 tc, 1 dc 1 slip. 
Sip down the stem of the bud, sc 8 on the flow- 
er stern, make a leaf opposite the first, work 
down the stern, and fasten off. 

Take a line needle^ and run a few stitches on 



the wrong side with each end, when you may cut 
them off closely. 

The Border, which would serve very well for 
a collar, or any other article, is made thus : — 
32 ch. for each pattern, or 256 for the round. 
Close, to form it into a circle, and on one side of 
the chain work thus : — 

1st round. — X slip 2, 2 ch., miss 2, 1 dc. * 
2 ch., miss 2, 1 tc, * twice ; 2 ch., miss 2, 1 dc, 
2 ch., miss 2, slip 2, 20 ch., miss 14, slip 2, X 8 
times. 

2nd, or outer round. — (To be worked on the 
other side of the chain.) X 2 slip on 2 slip, 1 sc, 
1 dc, 1 tc, 8 long tc, 1 tc, 1 dc. 1 sc, X 16 
times. 

3rd or inner round. — (To be worked on the 
first, beginning at the open hem.) X 2 slip on 2 
slip, 1 sc, 2 dc, 8 tc, 2 dc. 1 sc. 2 slip ; then on 
the 20 ch., 1 sc, 7 dc, 1 sc, 1 slip, 12 ch. ; form 
these into a loop, work round them in sc, then 
continue on the 20, 1 slip, 1 sc, 7 dc, 1 sc, X 8 
times. Fasten oil', and put on the pearl edging 
with the ends of thread. 

To make up the crown, draw a circle the size 
of the copy, on mounted paper, tack the crochet 



INITIALS. SI 

on it, and connect all the parts with open English Those who prefer it, may sew the crochet on a 

lace worked in Evans's boar's-head, No. 90. round of Brussels net, us is so generally d 

(Eor the Point-Lace Stitches, see Part III. of this with real Honiton lace, 
work.) 



INITIALS. 

[Fig. 2.] 

Materials. — Embroidery cotton, No. 70, stitch, with the white cotton, and then every port 

white, and ingrain scarlet. These letters are par- should have a fine scarlet thread run on each side 

ticularly suitable for marking linen, and similar of it, surrounding the raised part, and sewed 

heavy articles. They should be done in satin- closely over with the same ingrain scarlet cotton. 

[Fig. 3.] 

White embroidery cotton, No. 80. The work point of a stilletto would make them too large, 
of these letters should be very delicately done, These letters are suitable for handkerchief?. 
the eyelet holes made with a coarse needle ; the 



52 



KNITTED BAG. 



KNITTED BAG. 



[Fig 4.] 



Materials. — 7 shades of pink, blue, or green 
German wool, 2 yards of silk cord to match, and 
10 silver rings ; bone needles, No. 8. Cast on 90 
stitches with the darkest shade. 

1st. — Slip 1, Xmake 1, knit 2 together, knit 2 
together, make 1, knit 1, X ; repeat to the end. 

2nd row. — Plain knitting. Do two rows in 
every shade progressively, until you come to the 
lightest, when you will knit four, then two of 
every shade back to the darkest, with which you 
will fasten off. Sew up the side. 

For the foundation use four needles, No. 20. 
Pick up 30 stitches on each of three needles, and 
knit 3 plain rounds with the darkest shade but 
one. 

4th round. — Make 1, k. 2 t., repeat. 

5th. — (With the next lightest shade, continuing 
to change the wool every fourth round,) knit 12, 
knit 2 t., repeat. 

6th. — Knit 11, knit 2 t., repeat. 



7th — Knit 10, knit 2 t., repeat. 

8th. — Plain knitting. 

9th.— Make 1, knit 2 t., repeat. 
1 0th.— Knit 2 t, k. 9, repeat. 
11th.— Knit 2 t., k. 8„ repeat. 
12th.— Knit 2 t., k. 7, repeat. 
13th. — Plain knitting. 
14th.— Make 1, k. 2 t., repeat. 
15th.— K. 8, k. 2 t, repeat. 
16th.— K. 7, k. 2 t, repeat. 
17th— K. 6, k. 2 t., repeat. 
18th to 22nd. — Like the last 5. 
23rd. — Plain knitting. 
24th.— M. 1, k. 2. ty.repeat. 
25th. — K. 2 t., k. 5, repeat. 
26th.— K. 2 t., k. 4, repeat. 
27th. — K. 2 t., k. 3, repeat. 
Take up the remaining stitches and sew up the 
centre, on the wrung side, with an embroiderv 
needle. 



LACET BAG.— D'OYLEY IN SQUARE CROCHET. 



93 



LACET 

[Fig. 

This bag is made, as its name implies, of B?riid, 
(that is, Lacet) ; it is done very much in the 
manner of point-lace. 

Draw the pattern on colored paper, of the pro- 
per dimensions for the bag; paste a calico lining 
on the wrong side of the paper, and with color- 
ed silk braid go over all the black lines, fastening 
the ends of braid very neatly and securely to each 
other. Then all the double lines seen are to be 
worked in Venetian bars, and the single ones in 
Sorrento bars, with sewing-silk exactly the color 



BAG. 

5.] 

of the braid. Work the Venetian bars on three 
or four threads, and run the needle in the braid 
from one to the next. 

When complete, it must be removed from the 
paper, and another side done. The baa: must 
then be made of silk that will harmonize well 
with the color of the braid, as green with 
violet, orange gold color, with maroon or 
purple, and so on. A steel clasp and tassels 
complete this elegant bag. 



^v//y///^^* 



D'OYLEY IN SftUAEE CROCHET. 
[Fig. 6.] 

For. full directions for Square Crochet, see 
Part I. this work. 

Materials. — Cotton, No 36, with crochet 
hook, No. vJ2, eagle card-board guage, will make 
this D'oyley a proper size tor dessert. 



For other purposes, coarser or finer materials 
may be used A pretty edging should De 
worked all round it. One of the most suitable 
is that termed the Ivy-leaf Edging, m the 
" Home Circle," No. 101, Vol T IV., or Fig. 



04 



CROCHET EDGING. 



8. on the frontispiece of this number, will do 
a3 well. I may here give a hint for which, 
doubtless, many of my readers will thank me. 
All the designs given for D'oyleys and Anti- 
Macassars in square crochet may be equally 
well worked in square netting, the pattern 
befog darned in afterwards. The material used 
for Anti Macassars should be good and strong 
knitting cotton, Evans's Nos. 8 or 12 ; but 
D'oyleys look best done in Evans's Mechlenburgh 
thread, Nos. 7 or 8, the design being darned in 
Meeklenburgh, No. 12. 

Square Netting is done in the following 
manner : 

Begin with one stitch only, and net backwards 



and forwards, increasing one stitch at the end of 
every row until as many squares are made as 
may be required, reckoning from the point up 
one side. Then decrease, in the same manner, 
until only one stitch is left. When stretched 
out, this forms a perfect square, every stitch 
being true. Should an oblong piece be required, 
(as for a Bread-basket D'oyley,) work to the 
widest part as already directed, then continue to 
increase at one side, leaving a stitch at the 
other, until as much more is done as may be 
necessary for the entire length. Finish as in the 
perfect square. Crests and coats of arms are par- 
ticularly suitable for working in square netting 



**s*^*sA ^«Pt/S/W*- 



CROCHET EDGING. 

[WORKED THE LONG W T AY.j 

[Fig. 7.] 

Materials. —For Anti-Macassars, use cotton or 20. Make a chain of the length required ; or, 
No. 8 ; crochet hook, No. 1G. For trimming to trim an Anti-Macassar, work a row of sc. all 
petticoats, cotton, No. 30 ; crochet hook, No. 19 round. 



CROCHET EDGING. 



tf> 



1st. row. — Do. 

2nd. — 1 dc, 1 ch., miss 1. Repeat. 

3rd. — -+- 7 sc , 5 ch., miss 1, 1 dc., 6 ch., miss 
1, 1 dc, 7 ch , miss 1, 1 dc, 6 ch, miss 1, 1 dc. 
5 ch., miss 1, -f-. Repeat. (In working an Anti- 
Macassar, do not miss any at the corners in this 
row, and take care that the 7 chain comes exactly 
at the corner. This will allow a sufficient 
fulness for the shell to lie flat.) ' 

4th. — -+- 5 sc (beginning on the second of 
5,) 5 ch., sc. under th'e first loop ; * 6 ch., sc, 7 
7 sc. in last row,) 5 ch, sc. under first loop, 
* 6 ch, sc. under next loop, * 4 times, 5 ch., -j-. 
Repeat. 

[worked the 

This Edging being more suitable for trimming 
articles of the lady's wardrobe than Anti-Macas- 
sars and D'oyleys, should be worked with Evans's 
boar's-head, No. 30, crochet-hook No. 20 ; or 
for children's dresses, cotton, No. 40, crochet 
hook, No. 22, eagle card-board guage. 

Make a chain of 17. Miss 7, dc. in 8th, 2 ch.; 
miss 2, dc. in 3rd, 5 ch., miss 5, dc. in last. 

2nd. — Turn the work. — 3 ch., 5 dc. on 5 ch., 



nth. — X 3 sc., (beginning on the 2nd of the 
5,) 5 ch., sc, under the first loop; * 6 ch. - 7 
under next loop, * 6 times, 5 ch., -f-. Repeat. 

Gth. — -f- 1 sc. on centre of 3 in last row, 4 ch., 
sc. under first loop, * 5 ch., sc. under next. * 
twice, -f- G ch. sc. under next, -f- twice, f 5 ch., 
sc under next, f twice, 4 ch., -f-. Repeat. 

7th. — Begin on the sc. st.ifch, -f- 4 bc'., 4 ch., 
slip the needle in the threads of the last sc 
stitch, and draw the thread through, -(-. con- 
tinue thus all round. Work every stitch of the 
last row ; the appearance is that a strong and 
solid edge, with dots at equal distances. 

SHORT WAY.] 

3 ch., miss 2, 1 dc, -f- 3 ch., miss 1, 1 dc, -+■ 
twice, 4 ch., miss none, 1 dc. 

3rd. — Turn the work. 5 ch., dc. under first 
loop, 3 ch., dc under the second, 3 ch., 4 dc, (the 
1st on 1st ch. of the next loop,) 2 ch., miss 2, 
1 dc. on the chain immediately after 5 dc, 5 ch., 
miss 5 dc, dc on third of the 3 ch. at the edge. 

Repeat the 2nd and 3rd rows until the re- 
quired quantity is completed. 



!H3 



LADY'S CHEMISETTE. 



LADY'S CHEMISETTE. 



Materials. — Cotton Xo. 
•10. crochet hook, Xo. 22, 
eagle card-board guage. 

Make a chain of 36 
stitcl 

Ist.—Dc. 

2nd. — Open square cro- 
chet. 

3rd.— Dc. 

4th. — Open square cro- 
chet. 

5th.— Dc. 

6th. — 10 sc., 10 ch., miss 
4. 1 dc. under 5th ch., 16 ch., 
",.1 dc. under 6th, 10 
ch., rniss 4, 1 dc. under 5th. 
Turn, and work the three 
loop-, in sc; turn again, 
and work Ihem in dc ; turn 
again, and work three scal- 
lops in the first large one, 





iiniist»»9iia>iiiMt«tit •*«»ViiiV«, 
lit aaaacata «>•:«>••••»*•»•■ •itVaiViiV 
£i t » • * a • • r » u • • • • ' % > i • t • . . • « . \V.\ V.V.' 

wa^uvav/;.v.v.v,v.v.v.v.v 

il)IIM(IIIMH<l<UIIIUUIIII 



thus : X 1 sc, 1 dc in one 
stitch, 3 tc. in the next, 1 
dc, 1 sc in tire next, X 3 
times ; then, on the large 
oop work six times in the 
same way, and on the other 
small, three times ; finish the 
row in sc. 

7th. — Turn the work ; 
make 15 ch., 2 sc on the 
5th and 6th of the loop of 
10, 7 ch., 2 sc. at the back 
of the second loop, in the 
eighth and ninth of the 
chain of 16; 7 ch., 2 sc. 
on fifth and sixth of the 
first loop of 10; 15 ch., 2 
sc. on the last two stitches 
at the end of the row. 

8th. — Turn the work, and 
do a row of sc 






LADY'S CHEMISETTE. 



r 



9th. — Turn ; 15 ch., 2 dc. over the middle 
loops of the first scallop, 1 5 ch., 2 dc. in the 
middle of the second scallop, 15 ch, 2 dc. in the 
third scallop, 15 ch. ; sc. on the last stitch of 
the row. 

10th. — Turn and work a row of dc. 

11th. — Turn and work a row of open square 
crochet. 

12th.— Like tenth. 

13th. — Like eleventh. 

14th.— Like tenth. 

Then repeat from the sixth row, observing 
that as the first lace row has only one scallop 
and this has two, you must count the number of" 
stitches in the last row, and leaving three from 
the centre for half of the space between the two 
flowers, and sixteen for the three loops, so that 
you will work in sc from the beginning of the 
row to within nineteen of the centre ; then the 
chain of ten, of sixteen, and of ten again, as 



directed in row 6, and six sc. stitches in the 
centre; the remainder of the row to correspond 

with the first part. 

The rest of the Chemisette is (o be worked 
according to the directions already given, ob- 
serving, that as the number of stitches i-radually 
increases, an extra scallop must be made in every 
new pattern, and care must be taken that they 
fall regularly between those of the previous 
row. 

When a different depth is done, to come up to 
the neck, leave a space of two patterns or so, in 
the centre, and continue working at eac: 
not increasing at the outer edge, and diminishing 
every row at the inner one, in order to fit the 
neck. 

It is to be set in a habit-shirt of net or Mali 
muslin, and two rows of crochet-lace put round 
the neck. 



96 



ANTI-MACASSAR. 



ANTI-MACASSAR. 

[Fig 8 ] 



Matepjals. — Cotton, No. 12. Crochet hook, 
No. 14. Eagle card-board guage. 

Make a chain of 9. Close in the 3rd for a 
round, leaving 2 chain. Work under this round 
12 dc. 

■f- Sc. on 1st dc, 5 ch. miss 1, -f- 6 times. 

-f- Sc. on 1st stitch of the 1st chain of 5, 3 
dc. on three next, sc. on 5th, slip on sc, -f- 3 
times ; repeat from the beginning until as many 
are done as may be required for the length of 
an Anti-Macassar, without a border. Turn, and 
work the three loops left in each flower, like the 
6rst three, with a single crochet stitch on the 
chain which connects them. Break off your 
cotton. 5 ch., dc. under each side of the centre 
stitch of the second loop, 9 ch., dc. in the same 
place of the next flower, and continue so to the 
end, leaving off with 5 chain Work on this a 



row of dc, then an open row, thus : — 1 tc, 1 ch., 
miss 1. Repeat. 

The next row in dc 

Make another length of flowers, and join them 
to the last row, thus : — in working the second 
side of the flowers, join the middle loop to the 
last row of dc, at the same intervals as the pre- 
vious row of flowers is united. 

Repeat alternately the open hem and the 
flowers, until the Anti-Macassar is sufficiently 
wide, finishing with the three rows which form 
the open hem. Work an open hem at the other 
side, and at both ends, carrying the dc all round. 
Beyond this is a round of small eyelet-holes 
which are thus worked: — X, make a chain of 9, 
close in 7th for a loop, under which work 2 dc ; 
drop the loop off your hook, take up a loop of 
the edge of the Anti-Macassar, then the dropped 



ANTI-MACASSAR. 



99 



loop and make 3 more dc. under the chain, 
reckoning as one thread the dropped loop and 
that of the border, -f- repeat, — joining such eyelet- 
nole to every fifth chain of the Anti-Macassar. 
Work the 2nd side of the eyelet-holes at each 
corner, make a chain all round connecting it with 
the eyelet-holes in every fifth stitch. Next 
round, 1 dc in the middle ioop of the 2nd side 
of the e} 7 elet-holes, 4 ch., repeat throughout the 
round with 5 ch. at the corners, dc. all round, 
working three stitches in one at the corners. 

Next round, X 1 tc, 1 ch., miss 1, X all round, 
not missing any at the corners. 

Next round, dc , with three in one at the 
corners. 

Next, X 5 dc. 5 ch., miss 1, 1 dc, 7 ch., miss 
1, 1 dc, 5 ch., miss 1 X, repeat all round, taking 
care that the 7 ch. come exactly at each COr- 
DfJ. 



Next, sc on each side of the 3rd dc, X 3 ch., 
sc in the loop of 5, 3 ch., sc. in the centre of the 
loop of 7, 3 ch., sc in the 2nd loop of 5, 3 ch., 
sc. on each side of the 3rd of the 5 dc. 

Next, sc. on a loop, -f- 3 ch., sc. on next. X. 
repeat all round, but with 5 ch. at the top of 
each Vandyke, and three chains of 5 at each 
corner. 

This is one of the patterns which look ex- 
tremely well when formed by an intermixture 
of cotton and wool, or colored and white cot- 
tons. A rich scarlet, green, or cerise wool may 
be used for all the eyelet-holes and the edge: 
the open-hems, throughout, in white cotton ; or 
pink and drab cottons wash and wear extremeiy 
well, and possess the additional advantage of not 
being 60 soon soiled as white inevitably is, par- 
ticularly in London. 



iOO 



CROCHET MAT 



CROCHET MAT. 



Materials. — Berlin wool 
— 3 shades of brown, 3 of 
green, 1 of violet, and 1 of 
yellow. 

Make the eyelet-hole in 
the centre, with the lightest 
brown ; 9 ch., form into a 
round, and work under it 
18 sc. stitches. 

Take the medium shade 
of brown and make 6 sim- 
ilar eyelet holes, which are 
to be joined to each other, 
and to the centre one, by 
sewing them at the back with 
a rug needle. 

With the darkest brown, 
make 12 more eyelet holes, 
and having worked them all 




round in sc, join them to 
the 6, (2 to each) as seen in 
the Engraving. 

Twelve heartsease must 
then be worked, thus : with 
violet wool make a chain 
of 5, close into a round, -f- 
11 ch., sc. under the loop, 
-f" twice, 3 ch., slip at the 
back of the loops, work in 
dc. round the two loops, miss- 
ing the last stitch of the 
first loop, and the first of the 
second, and working toge- 
ther the two stitches at the 
joining of the two loops. 
End with a sc. under the 
chain of five. 



CROCHET MAT. 



IOJ 



Take the yei.ow, sc. unaer the chain of 5, 9 
ch., sc. under same, 1 1 ch., sc. under same, 9 ch., 
sc. under the same. 

Slip on the round to the beginning of the 
yellow, and dc. the third violet and second yellow 
chain together; dc. all round the 9 ch., connect 
it to the 1 1 by two stitches, and then dc. round 
the 1 1 ; join the second 9 to the 1 1 by two 
stitches, and, at the last two, connect with the 
first violet petal. Fasten off, and sew the twelve 
hearts-ease round the eyelet-holes. 

Take the middle shade of green, X sc. on the 
left side yellow petal of the first heartsease, 12 
ch., sc. on the right side yellow petal of the sec- 
ond, 9 ch., slip across the back of the flower, X ; 
repeat all round 

With the same shade of green — X 7 dc. on the 
top of the violet petals of the first heartsease, 3 



cb., 2 dc. on the centre loops of the 12 ch., V \ 
peat all round. 

Dark green, 5 sc. X 4 ch., miss 1, sc. the other 
three, 5 sc, 6 ch., miss I, sc. 5 of them, 5 sc, 4 
ch., sc. 3 of them, 10 sc. X; repeat all round, 
ending with 5 sc. The chains form veinings for 
leaves. 

Second shade of green — sc. on sc, and I 
round all the veinings, working two in one at ev- 
ery point. 

Take the lightest green, and repeat the pre- 
ceding round, working three in the two at the 
point of each vein, and catching the 6ides to- 
gether. 

With the same shade, work the scallops all 
round, -f- dc. in 1 stitch, 3 tc. in next, 1 dc. in 
next X : repeat. 



uSo^t^L 



102 



ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE 



ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE. 



For a considerable period the art of Tatting, 
long disused in this country, has been revived in 
the fashionable world ; and like many other things 
which have disappeared for a time, has acquired 
greater lustre and beauty than it ever before pos- 
sessed. 

The exercise of the art of Tatting as known to 
our grandmothers, was merely an elegant apology 
for exhibiting a pretty hand and brilliant rings ; 
the actual production was never more elaborate 
than a neat, but rather substantial edging for a 
child's dress or a lady's frill. No wonder that 
our friends on the other side of the Channel chris- 
tined this apology for a lady's idleness pre-emi- 
nently by the appropriate term Frivolite. At the 
late French Exposition of Industry, however, 
some very beautiful and elaborate specimens hav- 
ing been exhibited, this kind of work again be- 



came the rage, both in France and England ; and 
doubtless the elegant pieces of Tatting which may 
be seen in our own Exhibition, will tend yet fur- 
ther to keep the work popular. 

The only necessary instruments are the shuttle, 
or short netting-needle, and a gilt pin and ring, 
united by a chain. The thread used for Frivolite 
should be strong and soft ; something like knit- 
ting-cotton. 

The first point to be attended to in Tatting, is 
the mode of holding the hands. The shuttle, fill- 
ed with thread in the manner of a netting-needle, 
should be held between the thumb and the first 
and second fingers of the right hand, about half- 
a-yard of the thread being unwound. Take up 
this thread two or three inches from the end, be- 
tween the thumb and first finger of the left hand, 
letting the end fall in the palm of the hand ; pass 



ELEMENTARY INSTRUCTIONS IN TATTING OR FRIVOLITE. 



10; 



the thread round the other fingers of the ri^ht 
hand, keeping them rather apart from each other, 
mid bring it again between the thumb and fore- 
finger, thus making a circle round the extended 
fingers. 

Two stitches only are used in Tatting, and it 
is usual to do each alternately, as a prettier edg- 
ing is thus formed than can be made in any other 
way. This is, therefore, called the double stitch. 

The first stitch to be learned is termed the En- 
glish Stitch. This is made in the following man- 
ner : — 

Let the thread between the right hand and the 
left fall towards you, (as will be seen in the En- 
graving), slip the shuttle under the thread between 
the first and second fingers, and draw it out to 
the right rather quickly, keeping it in a horizon- 
tal line with the left hand. It will be found that 
a slipping-loop is formed on this thread with that 
which went round the fingers. 

Hold the shuttle steadily, with the thread 
stretched tightly out, whilst with the second fin- 
ger of the left hand, you slip the loop thus made 
under the thumb. 




I may here remark that when Tatting will not 
draw up, it is because the operation is reversed ; 
and instead of the loop being formed by the 
thread round the fingers, it is formed by that 
connected with the shuttle. This is usually caused 
by the worker letting the thread from the shuttle 
hang loosely instead of drawing it out, and hold 
ing it at full stretch. 

There is very little difference between tlie 
Prench and the English stitch. It simply consists 
in throwing the thread in a loop over the left, and 
inserting the shuttle uvteards under the cir-Je 



104 



ELEMENTARY INSTRUCTIONS IN TATTING OR FRIYOLITE. 



round the fingers, instead of downwards, as in the 
English stitch. 

The accompanying Engraving gives a clear 
idea of the manner in which this is to be done. 
The shuttle is drawn out, and the stitch formed 
exactly in the same manner as in the previous 
6titch 




The two stitches thus made form one double 
stitch ; and when as many are done, and drawn 
dose to each other, as may be directed, the stitch- 
es are held between the first finger and thumb 



and the other fingers are withdrawn from the 
circle of thread, which is gradually diminished by 
drawing out the shuttle until the loop of Tatting 
is nearly or entirely closed The tatted loops 
should be quite close to each other, unless par- 
ticular directions to the contrary are given. 

Sometimes Tatting is ornamented by a suc- 
cession of tiny loops, something like pearl-edg- 
ing; these are made with the pin previously 
spoken of. 

Slip the ring on the left hand thumb, that the 
pin, being attached to the chain, may be ready for 
use. Make as many double stitches as the direc- 
tions prescribe, twist the pin in the circle of thread, 
and hold it between the fore-finger and thumb 
whilst making more stitches ; repeat. 

Tatting should always be done with a very 
cool, dry hand. 

Common Tatting is merely a length of tatted 
loops, with or without picots. 

Trefoil Tatting is done by drawing up tightly 
three loops, made quite close together, and then 
leaving a short space before making more. The 
Trefoil is sewed into shape afterwards with a 
common sewing-needle, 



EMBROIDERY ON CAMBRIC. 



3 J 



A pretty variety may be made by trimming a 
number of large loops with others very much 
smaller, which should be sewed round them. In 
this case a little distance must r be allowed between 
all the large loops. 

I should always advise learners to use coarse 
crochet silk for their first attempts in Tatting, 



as it is very much easier to do with this material 
than with any other. 

Tatting is usually sewed on net, for collars, 
&c. I, however, greatly prefer the effect when 
the Tatting is formed into a solid mass by the aid 
of Point-lace stitches. Diagrams of all these may 
be found in Part III. of this work. 



****** <*/vw* 



EMBROIDERY ON CAMBRIC. 

[Fig. 1.] 
suitable for the corner of a handkerchief. 



i- 



fht 



— — , 



Materials. — mgram red and white embroidery 
cotton, No. 80. 

The design may be traced on the cambric from 
that given in the Engraving, and then worked in 



raised satin-stitch; the flowers (excepting the 
calyxes) in red cotton, and the leaves, stems, and 
calyxes in white. The little dots in the Flowers 
are raised. 



[Fig. 2.] 



TO CONTAIN INITIALS. 



Materials. — Either the same as in the pre- 
ceeding, or white embroidery cotton only. For 
a morning handkerchief, it would look very well 



in scarlet, the initials only being in white. The 
little rounds in this design are eyelet-holes very 
neatly sewed over. 



106 



KNITTED LACE COLLAR. 



KNITTED LACE COLLAR. 

[Fig. 3.] 



Materials. — Cotton, No. 40 ; needles, No. 24. 
Cast on fifteen stitches. 

1st Row.— Knit 2, m. 1, k. 1, m. 1, k. 2, slip 
1, k. 2 t., pass the slip-stitch over, k. 2, m. 1, 
k. 1, ra. 1, k. 2, slip 1, k. 1, pass the slip-stitch 
over. 

2nd, and every alternate row. — Purl all but 
two, and knit them plain. 

3rd.— Knit 2, m. 1, k, 3, m. 1, k. 1, slip 1, 
k. 2 t., pass the slip-stitch over the knitted, k. 1, 
rn. 1, k. 3, m. 1, k. 1, slip 1, k. 1, pass the slip- 
stitch over. 

5th.— Knit 2. m. 1, k. 5, m. 1, slip 1, k. 2 t, 
pas3 the slip stitch over, m. l,k. 5, ra. 1, slip 1, 
k. 1, pass the slip-stitch over. 

7th. — Knit 4, slip 1, k. 2 t., pass the slip- 
stitch over, k. 2, tn. 1, k. 1. m. 1, k. 2, slip 
1, k. 2 t., pass the slip-stitch over, k. 2 m. 1, 
K. 1. 

9th. — Knit 3, slip 1, k. 2 t., pass the slip- 



stitch over, k. 1, m. 1, k. 3, m. 1, k. 1, slip 1 k. 
2 t., pass the slip-stitch over, k. 1, m. 1, k. 2. 

11th — Knit 2, slip 1, k. 2 t., pass the slip- 
stitch over, m. 1, k. 5, m. 1 slip 1, k. 2 1, pass 
the slip-stitch over, m. 1, k. 3. 

12th. — As 2nd. Repeat until sufficient is 
done, then trim it with lace. Take up the 
stitches at the neck. Knit one row, taking two 
together every ten. Knit a few rows more and 
cast off. 

For the edging, the same materials. Cast on 
sixteen stitches, and knit one plain row. 

1st.— Knit 2, X m. 1, k. 2 t., X twice, k. 2, 

* m. 1, k. 2 t, * 3 times, m. 1, k. 2. 

2nd.— Pearl ll,k. 6. 

3rd.— Knit 2, X m. 1, k. 2 t, X twice, k. 3, 

* m. 1, k. 2 t., * 3 times, m. 1, k. 2. 

4th.— Pearl 12, k. 6. 

5th.— Knit 2, X m. 1, k. 2 t, ■+■ twice, k. 2, 
m. 1, k. 2, * m. 1, k. 2 t, * 3 times, m. 1, k 2 



SPANISH CKOCHET EDGING. 



107 



6th.— Pearl 14, k. 6 

7th.— Knit 2, + m. 1, k. 2 t , -f- twice, k. 2 t, 
m. 1, k. 1, m. 1 k. 2 t, k. 1, * ra. 1, k. 2 t, * 3 
times, m. 1, k. 2. 

8th.— Pearl 15, k. 6. 

9th. — Knit 2, -j- in. 1, k. 2 t, -f- twice, k. 1, m. 
1, k. 3, m. 1, k. 2t, k. 1, * m. 1, k., 2 t., * 3 
times, m. 1, k. 2. 

10th.— Pearl 16, k. 6. 

11th.— Knit 2, -f- m. 1. k. 2 t, + twice, k. 1, 
m. 1, k. 2 t., k. 1, k. 2 t., m. 1, k. 2 t., k. 9. 

12th.— Knit 1, X, k. 2 t., m. 1, X 4 times, p. 
7, k. 6. 

13th.— Knit 2, X m. 1, k. 2, X twice, k. 2^ 
m.l, k. 3 t, m. 1, k. 11. 

14th.— Knit 1, k. 2 1, X m. 1, k. 2 t, X 4 
times, p. 5, k. 6. 



15th.— Knit 2, ■+- m. 1, k. 2 t., X twice, k. I, 
k. 2. t., m. 1, k. 2 t, k. 10. 

16th.— Knit 1, k. 2 t, X m. 1, k. 2 t, X 4 
times, p. 3, k. 6. 

17th.— Knit 2, X m. 1, k. 2 L, X twice, k. 13. 

18th.— Like 16th, but purl 2. 

19th.— Knit 2, + m. 1, k. 2 t., X twice, k. 2 
t., k. 10. 

20th. — Like 16th, without purling any. 

21st.— Knit 2, X m. 1, k. 2 t., X twice, k. 10. 

22nd. — Plain knitting. 

Repeat as often as may be required. 

I may observe that this Edging is well suited 
#for the trimming of a counterpane, or any simi- 
lar large piece of work. It should, of course, 
be knitted in suitable materials. 



wvW^^ +W^r~~ 



SPANISH CROCHET EDGING 

[Fig. 4.] 

Materials. — Cotton, No. 16; crochet hook, No. same stitches, X 7 ch., miss 4, ec. in 5th, 5 ch., 
18 ; eagle card-board guage. slip into the same, X twice, 7 ch., sc. in 1st ch. 

29 ch., turn, sc in 15th, 5 ch., slip into the 



108 



COLLAR IN FRIVOLITE. 



— this forms the foundation. You will now 
begin to work the pattern. 

1st. — Turn the work, 7 ch.,sc. under last 7, 
5 ch., slip on the sc stitch, X 7 ch., sc under 
next loop, 5 ch., slip on the sc stitch, X 3 times, 
5 ch., sc under the same loop. 

2nd. — Turn the work, and slip 3 on 3 of the 
last 5 ch., -f- 7 ch., sc. under the next loop, 5 ch., 
slip on sc. stitch, -+- 3 times, 7 ch., sc. under last 
loop. 

3rd. — Turn the work, X 7 ch., sc, under the 
next loop, 5 ch., slip on sc. stitch, X 4 times, 4 
ch., 3 dc. under the same loop, 3 ch., i dc. in the 
last of the 3 slip of the preceding row, 4 ch., !*• 
dc in the first of the 3 slip, 3 ch., 2 dc and 1 
sc. in the first loop of the foundation. 



4th. — Turn the work, 3 ch , 3 dc. under first 
loop, 3 ch., 4 dc. under next, 3 ch., 3 dc under 
next, 3 ch., 1 sc. under next, -+• 7 ch., sc under 
next loop, 5 ch., slip through sc. stitch, X 3 
times, 7 ch., sc. under the last loop. 

As Dentelles de Laine are at present such fash- 
ionable trimmings for aprons, dresses, and man- 
tles, our friends would find such an edging as the 
above, done in black or colored Pyrenees wool, 
far more beautiful and economical than anything 
they can purchase. It may also be done in cro- 
chet, or netting silks, and would then be a most 
elegant trimming for the Mandarin sleeves, and 
berthes of dresses. 

"When fine cotton edging is desired use No. 30, 
and crochet-hook 20 or 21. 



COLLAR IN FRIVOLITE. 

[Fig. 5.] 



Materials. — Bobbinet and fancy ditto, for 
the foundation of the collar. For the Frivolite, 
use Tatting-cotton, No. 3. 

Cut out two collars, one in each kind of net, 



and connect them by a line of close button -hole 
stitch at the distance of an inch-and-a-quarter 
from the outer edge and ends. Then cut off 
the inner part of the fancy net and the outer of 



COLLAR IN FRIYOLITE. 



Iu3 



the plain, leaving thus one complete collar com- 
posed of two kinds of net. 

Make in Frivolite twenty-five stars of eight 
loops each, all drawn up as closely as possible. 
The loops should consist of about twenty double 
stitches each ; make also twenty-four eyelet- 
holes in Tatting ; sew the stars and eyelet-holes 
alternate on the line of button-hole stitch, 
beginning and ending with a star. Then make 
as many loops (all at a distance from each 
other) as may be necessary to cover the plain 
net in the manner seen in the Engraving ; sew 
them on alonar the lines of thread. 



For the border, do a length of Tattin:; «n 
alternate single and trefoil loops, with a 
piece of .thread between each ; and, after whip- 
ping the net, sew the Tatting on. The corner 
trefoils should be larger than the others. 

A narrow band of net may be put on the neck. 

Ladies who prefer Crochet to Tatting, may 
work any pattern given for Frivolite in their 
favorite manner, by substituting dc. stitches 
instead of the double tatting stitches. 

For working eyelet-holes in Crochet, I refer 
my readers to the instructions for the Anti-Ma- 
cassar, in Part V- of this work. 



C O L L A'R IN FRIVOLITE. 

[Fig. 6.] 



Materials. — Tatting-cotton, No. 3 ; shuttle 
and pin. 

Make 22 trefoils thus : 18 double stitches 
for each loop, which must be drawn up quite 
tightly ; three of these form a trefoil. 

Make 22 trefoils, of 15 double stitches, in the 
same manner for the nest row ; and then a 



similar set of 12, 9, and 6 double stitches in 
each loop Sew the trefoil of a collar of funcy 
net ; put on 2 rows of tatted purled edging, as 
indicated in the Engraving, finish last line of 
Trefoils with a tatted round, and sew a niuslin 
band round the neck. 



xlO 



FISH CLOTH. 



FISH CLOTH 

[Fig. 7.] 



Materials. — Cotton of the following colors : 
two reels white, two green, one dark blue, one 
light blue, one black, one lemon color. The colors 
will be indicated throughout by their respective 
initials. The cotton should be Nos. 10 or 12, and 
a very small quantity of Evans's boars-head, No. 
40; hooks, Nos. 10 and 20; eagle card-board 
guage. 

Jic^in by making the lemon slices thus : — 
with cotton, No. 40 ; hook, No. 20, make l 
chain of 12 ; close it into a loop, and work it 
all round in dc, taking the stitches under the 
chain. Do this four times, when all the pips 
will be made. With the yellow cotton, work a 
chain, connecting all these from point to point, 
in a circle. Work a round of white in the 
yellow, with two tc. stitches in every chain 
Ihen a round of tc. in yellow on the white, with 
two stitches in every alternate one. This com- 
pletes one lernon slice. Four of them must be 



made and sewed on the corners of the fish cloth 
after it is completed. The pips only are to be 
done with a fine needle and fine cotton. 

With the coarse white cotton, and hook, No. 
10, make a chain of 116; work eight rows in 
open square crochet. 

9th. — 17 os. in white, 1 dc. in dark blue, 3 dc. 
in light blue, 2ch. in white, 2 dc. light blue, 
18 open squares in white, 
future rows the colors will 
their respective initials. 

10th.— 17 os. w, 1 dc. d. b., 
w, 3 dc. 1. b., 18 os w. 

11th.— 17 os. w.,2 dc. d. b. 3 
w., dc. 1. b., 17 os. w. 

12th.— 16 os. w., 3 dc. d., 



Observe that l 
be indicated by 



b., (to 
OS. w. 

13th.— 16 os. w., 4 dc, 
dc. w., 5 dc. 1. b., 17 os. w. 



4 dc. 1. b. 


, 2 ch. 


dc. 1 1. b2,. 


2 dc. 


2dc. 1. b., 


2 dc 


, 4 dc. 1. 


b., 17 



form the eye), dc. w., 

d. b., 3 dc. 1. b., 4 



FISH CLOTH. 



Ill 



14. — 16 os. w., 4 do. d. b., 4 dc. 1- b., 4 
dc. w., 5 do. 1. b., 1G os vv. 

15th. — 15 os. w., 4 dc. d. b., 4 dc. 1. b., 5 
dc. w., 4 dc. 1. b., 1 dc. d. b., 15 os. os, w, 

16th,— 1 5 os. w.j 4 dc, d, b., 3 dc. 1. b., 6 dc. 
w., 2 dc, 1. b„ 1 dc. d. b,, 3 dc. 1. b., 1 ch, w. ; 
open squares in white to the end, 

17th.— 15 os. w., 4 dc. d. b., 4 dc. 1. b., 6 dc. 
w., 1 dc. 1. b., 6 dc. 1. b. ; open squares in 
white to the end. 

18th. — 14 os. w., ending with one chain, 4 dc. 
d. b., 4 dc. 1. b., dc. w., 2 dc. d. b., 1 dc. w., 
6 dc. 1. b., ; finish with os. in white. 

19th.— 14 os. w., 4 dc. d. b., 4 dc 1. b., 11 
dc. w., 6 dc 1. b. ; open squares to the end in 
white. 

20th — 14 os. w., 4 dc d. b., 4 del. b., 13 
dc. w., G cic i. b- ; finish with open squares in 
white. 

21st and 22nd.— Like 20. 

23rd, — 13 os. w., 1 ch, w,, 3 dc. d, b,, 5 dc. 
1, b.j 15 dc. w., 7 dc, 1, b, ; open squares in 
white to the end. 

24th.— 13 os. w., 3 dc, d. b., 5 dc, 1. b., 17 
dc. w., 6 dc. 1, b. ; finish with white in os. 



25th. — Begin on the first, leaving out the 
open squares. 3 dc. d. b., 5 dc. 1. b., 19 dc 
w., 5 dc 1. 1). 

26th to 31st inclusive. — The same. Now turn 
back to tho twenty-fifth row, and be^in a chain 
in the last stitch of the light blue for the tin; 
let the chain be composed of twelve stitches ; on 
that chain, work 2 sc, 3 dc, 7 tc : turn, and 
work 7 dc, 2 sc, which will make it even with 
the row above, if the three hist stitches are 
missed along this ; work a row of sc to unite 
it to the fish, as in the Engraving. Then work 
open squares in white from tWb row you first 
missed, then to the last, that is, the thirty-first 
row. Do the same on tlie other side of tho 
fish, taking care that the lower fin rerches a 
little lower than tho upper one. Begin the 
second fin on tho twenty-sixth row. 

32nd. — 13 os. w., 1 ch. w., 4 dc d. b., 5 <\c. 
1. b., 17 dc. w., 5 dc. 1. b ; finish with open 
squares in white. 

33rd.— 13 os. w., 2 eh.'w., 4 dc. d. b., 5 dc. 
1. b., 15 d.c w., 5 do. 1. b; finish as before. 

34th.— 14 os. w., 3 dc. d. b., 5 dc. 1. b., 13 dc. 
w., 5 dc 1. b. ; finish as before. 






T12 



FISH CLOTH. 



35th — 14 os. w., 3 dc, d. b ., 5 dc. 1. b., 11 dc. 
w., 5 dc. 1. b. : fiuish as before. 

36th. — 14 os. w., 1 ch. w., 3 dc. d. b., 5 dc. 1 
b., 9 dc. w., 5 dc, 1. b. ; finish with white os. 

37th. — 15 os. w., 3 dc. d. b., 5 dc. 1. b., 7 dc. w., 
5 dc. 1. b.; finish with white open squares. 

38th. — 15 os., w., 1 ch. w., 3 dc. d. b., 5 dc. 1. 
b., 5 dc. w., 5 dc. 1 b- ; finish with white os. 

39th. — The same. 

40th.— 15 os. w., 2 ch. w., 3 dc. d. b., 4 dc. 1 
b., 5 dc. w., 3 dc. 1. b., 2 dc. 2 ch. w. ; open 
squares in white to the end. 

41st. — 16 os.- w., 2 dc. d. b., 4 dc. 1. b., 5 dc. 
w., 2 dc 1 b., 2 ch. ; open squares in white to the 
end. 

42nd. — 15 os. w., 1 ch. w., 2 dc d. b., 4 dc. 1. 
b., 7 dc. w., 2 dc. 1. b. ; open squares in white to 
the end. 

43rd — 15 os. w. 2 dc. d. b., 4 dc. 1. b., 9 dc. 
w., 2 dc 1. b. ; finish with open squares to the 
end. 

44th — 14 open squares in white, 2 dc. d. b., 4. 
dc. 1. b., 4 dc. w., 2 dc. 1. b., 5 dc w., 2 dc 1. 
b. ; open squares in white at the end. 

45th. — 14 open squares in white, 2 dc. d. b., 3 



dc 1 b., 5 dc. w., 1 dc 1. b., 2 ch. w. ; 1 dc. 1. b., 
6 dc. w., 1 dc 1. b., 1 ch. ; and open squares to 
the end in white. 

46th.— 14 os. w., 2 dc. d. b., 3 dc 1. b., 4 dc 
w., dc 1. b., 1 ch., 1 dc, 2 ch., 1 dc, 1 ch., all 
in white, 1 dc. 1 b., 4 dc. w., 1 dc. 1. b., 1 ch. 
and os. in white. 

47th — 14 os. w., 1 ch. w., 2 dc d. b., 1 dc. 1. 
b-, 3 dc w., 1 dc. 1. b., 2 ch., 1. dc 2 ch., 1 dc. 2 
ch., all in white, 1 dc. 1 b., 2 dc w., 1 dc 1 b., 2 
ch. and open squares to the end in white. 

48th. — 14 os. w., 1 ch. w., 2 dc. d b., 1 dc 1. 
b., 1 dc. w., 1 dc. 1. b. 3 X 2 ch., 1 dc. X 4 times, 
and 2 ch., w., 1 dc. 1. b., 2 dc. w., 1 dc 1 b., 1 
ch., and open squares to the end in white. Fin- 
ish with eight rows of open squares in white cot- 
ton. 

For the border, for which the green cotton is 
to be used : 

Make a chain of 16, turn, miss 2, 2 sc, 3 dc, 4 
to., 3 dc, 2 sc, 1 ch., turn; work the same on 
the other side of the chain of 16, and fasten off. 

This completes one leaf; let as many be done 
as may be required to go all round the D'oyley, 



i 



CROCHET INSERTION 



113 



rather more than twice. Then, with fine green 
cotton, sew the points of some, at regular inter- 
vals, round the Fish Cloth. Make a chain all 
round, connecting the base of the leaves at regu- 
lar intervals. On the chain, work a row of sc, 



connecting the ends of the remaining learee for 
the outer row. 

Or the leaves might be made with a chain of 
5 between each ; the second row of leaves being 
worked on the other side. 



Mlff^M ^*WS~- 



CROCHET INSERTION. 



WORKED THE SHORT WAY. 



Materials. — Cotton, No. 80. Crochet hook, 
No. 22. 

Make 32 chain 

1st — Miss 3, 2 dc, f2 ch., miss 2, 1 dc, f, 
twice, 2 ch., miss 2, 7 dc, * 2 ch., miss 2, 1 dc. 
* 3 times, 2 dc. 

2nd — Turn the work ; and, in this and the 
other alternate rows, take up the side of the 
stitch nearest to you, whilst in the intermediate 
you take up the side farthest from you. 3 ch.,' 
twist them, miss 1, 2 dc, * 2 ch., miss 2, 1 dc -f- 
5 times, 3 dc, 2 ch., miss 2, 1 dc, 2 ch. miss 2, 
3dc 



3rd — (Turn the work.) 3 ch., twist, miss 1, 2 
3c on dc, 2 ch., miss 2, 4 dc, 2 ch., miss 2, I 
Ic.j 2 ch., miss 2, 7 dc, 2 ch., miss 2, 1 dc, 2 cb., 
niss 2 3 dc 

4th. — (Turn.) 3 ch., twist, miss 1, 2 dc. 2 ch., 
miss 2, 4 dc, ° 

A /\ r* t - 4-TTfi r 



ch. 
5 ac. 
4th. — (Turn.) 3 ch., twist, miss 1, 2 dc. 2 ch., 
niss 2, 4 dc, 2 ch., miss 2, 1 dc, -f- 2 ch., miss 2, 
: dc, -f- twice 2 ch., miss 2, 3 dc. 

5th. — (Turn.) 3 ch., twist, miss 1, 2 dc 2 ch., 
miss 2, 4 dc, 2 ch., miss 2, 1 dc -f-, 2 ch. miss '2, 
4 dc, + twice, 2 ch., miss 2, 3 dc 

6th.— (Turn.) 3 ch., twist, miss 1, 2 dc. 
\ ch.. miss 2, 4 dc, 2 ch., miss 2. 1 cu., 2 ch. 



4 dc, -\- twice, 2 ch., miss 2, 3 dc 

6th.— (Turn.) 3 ch., twist, miss 1, 2 dc. 
2 ch., miss 2, 4 dc, 2 ch., miss 2, 1 du., 2 ch. 
miss 2, 7 dc, 2 cb., miss 2, 1 dc, 2 ch., miss 2, 3 dc 



114 



NETTED SCARF. 



7th. — (Turn.) 3 ch., twist, miss 1, 2 dc, X 2 
cb., miss 2, 1 dc. -f- 6 times, 3 dc, 2 ch, miss 2, 3 dc. 

8th.— (Turn.) 3 ch., twist, miss 1, 1 dc, X 2 
ch., miss 2, 1 dc, X twice, 3 dc, * 2 ch., miss 2, 
1 dc. * 4 times, 2 ch., miss 2, 3 dc. 

Eepeat until sufficient is done for the purpose 
required. 

It may be necessary to explain the meaning 



of the word twist. In working a crochet pat- 
tern backwards and forwards, or in carrying the 
thread from one round to another, ivithout join- 
ing, in a round crochet pattern, the neatest way 
is to make three chain, and then twist them, let- 
ting the loop drop off the needle for the purpose 
and resuming it ; this looks quite sufficiently like 
a dc. stitch for all ordinary purposes. 



N ETTE D SCARF. 



Materials — 6 oz. light blue filoselle, 1 oz. 
each of white and of claret ditto. "When wind- 
ing the skeins, split them in half and the threads 
will then be quite sufficiently thick. Begin with 
the border. Take a round mesh, No. 4, [the size 
of a common pen-holder,] make 1 stitch. 

2nd.— Net 2 in 1. 

3rd and succeeding rows. — Add one stitch 
at the end of every row until you have thirty 
one stitches in the row, when you will net two as 
one. The next row, you will increase one at the 
end ; the following one you will diminish until 
you have done fifty rows in this manner, Lhen 



decrease at the end of every row until one stitch 
only remains. 

This being done in white filoselle, may be 
darned in a handsome pattern with the claret. 
A second piece must be done in the same way.. 
Then two bands, each half the width of this, 
must be made in light blue, to one side of which 
a handsome fringe must be sewed, and to the 
other the white netting. The body of the scarf 
must also be done in the blue filoseile. 

Any handsome scroll or pattern for square cro- 
chet, which is not more than thirty squares wide, 
may be used for darning the border of the scarf 



NIGHT CAP IN CROCHET. 



IVL A T E R 1 A L S. 

—Cotton, No. 12; 
crochet hook, No. 
1 6 ; eagle card- 
board guage; 184 
chain. This pat- 
tern is worked 
principally in close 
and open sqares. 

1st. — 4 o., + 1 
c, 1 o., 1 c, 7 o., 
*+- 5 times, 1 c. 
1 o., 1 c, 4 o., 

1 dc. 

2nd.— 3 o., -f- 2 
c, 1 o., 2 c, 5 o., 
-j- 5 times, 2 c, 1 
o., 2 c, 3 o., 1 dc. 

3rd.— 5 o., -f- 1 
c , 9 o., -f- 5 times. 
i c, 5 o., 1 dc. 

4th. — 1 slip, 3 
ch., miss 2, 2 o., -J- 

2 c, 1 o., 2 c, 5 o, 
-J- 5 times, 2 c, 




■is 

1 o., 2 c, 2 

ch., miss 2, 1 slip. 

5th. — 1 slip, 3 
ch., miss 2 to 2 o 
1 c., 1 o., 1 c, 7 o.. 
-+- 5 times, 1 c, 1 
o., 1 c, 2 o., 3 ch.. 
1 slip on the dc. of 
last row. 

6th. — 1 slip on 
the first dc. of the 
last row, 3 ch, miss 
2, open squares to 
the last ; then 3 ch, 
miss 2, slip 1 on 
the last dc. 

7th.— I dc. on 
the last of ti 
ch. of the preced- 
ing row, 1 dc. on 
the dc. of the 
row, 6 o., f i c , 
1 o., 1 c, 7 o., f 4 
times. 1 c 1 o., 1 
c, 6 o., 2 dc. 



lie 



NIGHT CAP IN CROCHET. 



8th. — 2 dc, + 5 o., 2 c, 1 o., 2e.,f 5 times 
5 o. 2 dc 

9th.— 2 dc, 7 o., -f- 1 c, 9o.,f4 times, 1 c, 7 
o., 2 dc. 

10th.— 2 dc, f 5 o., 2 c. , 1 o., 2 c, -f- 5 times, 
5 o., 2 dc 

11th.— 2 dc, 6o.,+ 1 c, 1 o., 1 c, 7 o, + 4 
times, 1 c, 1 o., 1 c, 6 o., 2 dc. 

12th. — dc. ; open squares to the two last 
stitches, 2 dc 

13th — 2 dc, 1 o., + 1 c, 1 o.; 1 c, 7 o., + 5, 
times, 1 c, 1 o., 1 c, 1 o., 2 dc. 

14th. — 1 dc, -f- 2 c, 1 o., 2 c, 5 o., -f- 5 times, 
2 c, 1 o., 2 c ., 1 dc 

15th.— 2 dc, 2o.,flc. 9 o., -f- 5 times, 1 c 
2 o., 2 dc. 

16th— Like 14th. 

17th.— Like 13tb. 

18th.— Like 12th. 

19th.— 2 dc, 6o,+ 1 c, 1 o, 1 c , 7 o., X 5 
times, 1 c, 1 o., 1 c, 6 o.,2 dc. 

20th.— Like 19th. 

21st.— Like 9th. 

22nd.— Like 10th. 

23rd —Like 11th. 



24th and 25th. — Like 12th. 

26th. — Forms half the band at the back, -f-2 
dc, 5 o, (a) turn ; 5 ch., miss 2, 4 o., 2 dc, -f- 4 
times between the crosses, and then to (a) once, 
Slip down the upper side to the top of the last dc 
stitch, in the twentieth row ; so the first row of 
the follow point is merely a continuation of the 
twenty-sixth row. 

1st. — Triangular Point : 2 ch., miss 2, 8 o., 1, 
dc., turn, 3 ch., miss 2, 8 o. , (taking care that the 
dc. stitches come over those of the previous row), 
1 dc, turn, 3 ch., miss 2, 7 o., 1 dc. on dc, turn, 
3 ch., miss 2, 6 o., 1 dc. on dc, turn, 3 ch., miss 
2, 5 o., 1 dc- on dc, turn, 3 dc, miss 2, 4 o., 1 dc, 
on dc, turn» 3 ch., miss 2, 3 o, 1 dc on dc, turn, 
3 cb, miss 2, 2 o., 1 dc, on dc, turn, 3 ch., miss 
2, 1 o., 1 dc on dc, turn, 5 ch., miss 3. dc, on dc ; 
slip stitch up the side of this point to the twenty- 
sixth row again, which is thus entirely formed by 
the first rows of the points. Work five points 
and you will have stitches enough left for five 
open squares at the end, which are to be work- 
ed to correspond with the other half of the band 
at the back of the neck. Sew the ends of the 
bands together, leaving the Vandyke loose 



CROCHET EDGING. 



11? 



"Work round the inside of the band and round 
the Vandyke, thus : — 

1st round. — 5 ch., miss 2, 1 sc. 

2nd. — 1 sc. under the chain, 6 ch. ; repeat. 

It will then be necessary to put a border to 
the cap itself; and either any pretty one may be 
worked on that is already given in this work, or, 
if a narrow one be preferred, the following may 
be adopted : — 

1st. — X 1 dc, 2 ch., miss 2, X ; repeat all round 



except mat at tne corners you will work. • 1 dc, 
2 ch., miss none, * three consecutive times. 

2nd. — 1 sc. 5 ch., miss 3 all round. 

3rd. — X 1 sc, 3 dc, 1 sc, under the loop made 
by one chain of five of the last round, 3 ch., 1 sc. 
under the next loop of 5, 3 ch. X; repeat. 

Plait a cord of narrow braid, and make tase U 
of the same; run them through the top of the 
band at the back, when the ends are sewed to- 
gether, and through the point of each Vandyke, 
and draw it up when on the head. 



CROCHET EDGING. 

[worked the short way.] 

Materials. — Cotton, No. 20. Chain of 20 3rd — 5 ch., 1 dc in large loop, -f- 1 ch«, 1 dc- 

stitches; form into a loop. in same, -f- 6 times, 2 ch., 1 dc in next loop. 2 

1st. — 5 ch, -f- miss 1, 1 dc, 2 ch., -\- 5 times, 1 ch., 1 dc. in next. 

dc Turn the work, and repeat the 2nd and 3rd 

2nd. — 9 ch., 1 dc. into loop +2 ch, 1 dc in rows until sufficient is done, 
next, -j- three times, 7 ch., 1 dc in last. 



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